[Hornlist] Paul Mansur
Bill, I'm sorry that I missed this announcement, too. Paul and I corresponded sporadically over the years and I knew that he was aging and in less than perfect health. Still, it comes as sad news. Dan Canarutto says it was announced on the list, but I wonder if he read it on another horn list. For many reasons, I only subscribe to this one, but I do read it pretty thoroughly and have no recollection of an announcement here. Later, if I have time, I will try to send a more detailed recollection of Paul, who was someone I wish I knew better. Peter Hirsch date: Mon, 13 Apr 2009 21:21:57 -0500 from: William Gross william.s.gr...@gmail.com subject: [Hornlist] List Members According to Cornucopia (A publication of the New England Horn Society) Paul Mansur, long-time editor of The Horn Call and contributor here, has died. I may have missed the announcement if it was mentioned here. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Clevenger's horn
Anyone on the list know what make and model Dale's current orchestral instrument is? All of his section appear to be playing the standard Steve Lewis horn, but his has some interesting looking straight slides and extra tubing on it. Even with binoculars, I wasn't able to get a good enough look to tell what sort of arrangement it had, though I could see that it had a normal looking leadpipe, so I doubt that it is any sort of triple. Just curious. Peter Hirsch. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: NBC horn player under Toscanini 1948
Hans, Arthur Berv is definitely the first player. Clearly, the second is one of his brothers, Jack or Harry, most likely Harry, though I don't have the documentation of who played what part in front of me at the moment. The video I just pulled up on Youtube actually had the date of December 1948, so maybe I saw a different one. I knew Arthur and Jack pretty well, but about 20 years after the performance was filmed and I never met Harry, so I can't be 100% sure on the identification of the second horn player. Regards, Peter message: 1 date: Sun, 01 Mar 2009 20:37:13 +0100 from: hans.pi...@t-online.de hans.pi...@t-online.de subject: [Hornlist] NBC horn player under Toscanini 1948 Hello friends, anybody out there who could identify or name the two horn players on the March 1948 NBC Video of Wagner´s Tannhaeuser ouverture conducted by Toscanini, please ? The two players are shown for over a minute at least again later. Han Pizka ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Schoenberg/Coleman/Philadelphia
Oh God, I've done it again. I know it was 1955, not 95. I should have copy/pasted the info from WorldCat (or done some proofreading). I also need to send out props to Steve O. for reminding me of his John Barrows CD, which I have in my collection and totally blanked out on (yet another senior moment on my part). As I said to Bob Dickow, some of my best memories are of things that never happened and this may prove the inverse (some of my fondest memories are things I have forgotten!?). Peter -Howard Sanner hornl...@terrier.ampexguy.com wrote: - To: horn@music.memphis.edu From: Howard Sanner hornl...@terrier.ampexguy.com Date: 02/25/2009 02:01PM cc: phir...@nypl.org Subject: Re: [Hornlist] Schoenberg/Coleman/Philadelphia Quoting Peter Hirsch: the Library of Congress has a mono tape of the March 11, 1995 concert, recorded in the Coolidge Auditorium, where the PWQ performed Reicha, op. 88. no. 2, The Francaix Divertissement for oboe, clarinet and bassoon and the Schoenberg Quintet, op. 26. I did a major double take when I saw this, mainly because I wondered who the players might have been. So I searched it in our catalog. It's actually the performance of March 11, 1955. No personnel is listed in the catalog record, which you can view by pointing your browsers to: http://lccn.loc.gov/96706771. Howard Sanner hornl...@terrier.ampexguy.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Schoenberg/Coleman/Philadelphia
I checked OCLC WorldCat and the Ornette Coleman Forms and sounds album was on RCA Victor LSC/LM 2982 and later reissued on CD as Bluebird 6561. The Schoenberg is available through Naxos Classical Library by subscription (or through an institution that subscribes) and was on Columbia ML 5217 (Bill Gross has transposed the digits in his posting) and the Library of Congress has a mono tape of the March 11, 1995 concert, recorded in the Coolidge Auditorium, where the PWQ performed Reicha, op. 88. no. 2, The Francaix Divertissement for oboe, clarinet and bassoon and the Schoenberg Quintet, op. 26. It is not likely that RCA and Columbia ever shared their material to create the album the Bob Dickow fondly recalls (I have way too many of those sort of pseudo-memories to point any fingers myself). They could be licensed and combined by an archival re-issue label, such as Boston, but I can't say what the odds are of that happening. Since they do seek suggestions, I did once send them a request that they acquire the rights to the Dover LP of Rossini quartets with some of Barrows' most beautiful sounding and inspiring playing on it, but they didn't take the hint. That's about it, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Puppenfee on the Net - oops, make that ROSENfee
I must have had Josef Bayer on the brain for some reason. In a former job, Bayer's ballet, which translates as something like Puppet Fairy, was the source of much amusement for no better reason than we just liked the way it sounded when we said it. Apparently it takes more than a couple of decades of dissipation and horn playing (or it this an reverse oxymoron?) to loosen up the synapses and get rid of certain idees fixe. Better stop now, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Puppenfee on the Net
Eric James didn't give any citation, so I don't know if he used the same source, but I see that there is an on-line, searchable version of the (Friedrich) Hofmeister Monatsberichte for the years 1829-1900. If you look at: http://www.hofmeister.rhul.ac.uk/2007/content/monatshefte/1850_11.html you will see an entry for Halevy (F.) Ouverture zu der Zauberoper: Die Rosenfee (La Fée aux Roses). Berlin, Schlesinger 1 Thlr. and you can look at a digitized image of the catalog page where this entry appears. This does not link to the score itself, so there is no way to verify what the music is and if it is what Pottag/Gumpert put in their collections, but it is a pretty good guess that it is. Regards, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RIP: Arthur Goldstein
I also felt a great loss when I received the news of Art's death a few days ago. He was my first real horn teacher and I studied with him from 6th grade through most of high school, first in the basement of his house in Massapequa (67 Bell Place; I can still remember it even without digging out my old Cor Publishing volumes) and later at home. It has always been my greatest pride to be able to claim the real Erich von Schmutzig as my earliest influence, artistically and satirically. At this point, I can no longer summon up his pedagogical style, but I do remember his love of story telling, whether it was about his days in the army, in Chicago under Reiner or the pit at Radio City. I also remember his taking the time to show me the best and most secure place to wedge a cigar between the F-side slides and his particular affection for Reynolds horns. I ended my studies with him on a somewhat negative note in my high school junior year, but he was extremely gracious and warm to me when our paths crossed as I got involved in the freelance world of 1970s NYC. I remember sitting second to him and hear him nail (expertly using the time honored missing second slide gimmick) the pp Bb entry in Beethoven 4 and a week of concerts that included Michaela's Aria as examples of his solid technique and spot on musicality. The last time I played in a section with him (and I believe probably the last time he played professionally) was with the Seuffert Band, with him holding court from the 4th chair. I also recall his reminiscing about his own student days studying with Valkenier. I wish I had summoned up the nerve to pump him for more just as I wish I had with my subsequent mentors when they were recalling their formative days under Horner, Pottag, Yegudkin, Hoss, et al. For the last few years, it was on my to do list to get in touch with Art and try to root up some old memories of this sort, but, as usually happens, time made a fool of me and my intentions. There must be legions of his students on this list; he taught a large chunk of the sizeable pool of young players on Long Island for several decades. I hope to hear more about him from those others out there. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] email from Donato Inglese
Has anyone on this list recently gotten a message from Donato Inglese? I just received something from that name using gmail and it is close to a random sequence of words, but seems to be responding to some of the comments I made on this list about his youtube performances afew weeks back. I can not tell if he liked what I said (I felt I was mostly positive, even as I was struck by the anachistic character of his playing and whole persona in my contributions to the list). I have enough friends that might get some jollies by putting me on, but the signature says greet Italian donated English horn which seems like Donato Inglese feed through babelfish or some other translator. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: A Practicing dilemma
AHA! Well, if Carmine Caruso can be assumed to be who you refer to as Carouseau (and not some mutant midget merry-go-round g/;), that might be one of the first areas I would look into adjusting when you resume practice after a layoff or cutting back on practicing. What I am trying to say is that Caruso's method is a powerful tool, but a pretty dangerous one if not properly supervised. I studied with Carmine for a short period and it was somewhat useful to me and I am glad to have had the experience, but it was mostly his comments about what I was doing and not the specific calisthenics that were prescribed in his method that were valuable. I don't know if you are working with an experienced Caruso guru, but it is imperative that you do so (IMNSHO). I can see that you could get a pretty stiff lip just slogging through all the rest of the music you mention, but topping it off with Caruso, which mandates maintaining uninterrupted embouchure/mouthpiece contact could be an express ticket to muscle damage. Good luck and best wishes, Peter Hirsch date: Fri, 12 Dec 2008 11:12:52 -0500 from: sirgallihad sirgalli...@gmail.com subject: Re: [Hornlist] A Practicing dilemma Well, my warmup consists of mainly a mix of arbans, farkas and Carouseau. Then I move on to studies by Conconne, Maxime-Alphonse, Kling, sometimes kopprash, sometimes Gallay. After that is pieces, Mozart 1 2nd mvt, mozart 2, 1st, mozart 3 1st exposition, hindemith sonata in F, and then when I have time, excerpts, right now working on Mahler 6 and haydn variations by Brahms. This is obviously not every day, but a mix of all these, practicing the ones that are most urgent. On Thu, Dec 11, 2008 at 20:20, Steve Haflich s...@franz.com wrote: From: Simon Varnam simonvar...@gmail.com What on earth are you playing that is so exhausting? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Freischuetz Overture
Hans, Is this the same arrangement that was also once published by Lorenzo Sansone? I have a copy of that one and I do remember that is was more effective than you might expect (and it keeps the horn plenty busy). I don't recall that the arranger's name was on the music, but I will look at my copy later to see if there was one. Regards, Peter Hirsch date: Mon, 01 Dec 2008 06:41:41 +0100 from: [EMAIL PROTECTED] [EMAIL PROTECTED] subject: Re: [Hornlist] Beethoven Sextet Opus 71, II: Bb basso? For those playing arrangements: If you have a reasonable basson a reasonable clarinet player in your neighbourhood, I could provide a good arrangement of the Freischuetz Ouverture by C.M.v.Weber for that ensemble, just a few copies from the old CeFes publication. It is a serious arrangement. I am doing it a new. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The whinnes sall prick thee to the bare bane.
Recently, the process of trying to dub a recording of the Britten Serenade caused me to listen to several of the movements repeatedly and I was struck that I have never fully registered what the words in the tenor's lyrics were nor had I completely understood the meaning of some of the more antique ones. Much can be figured out fairly easily by studying the context, but I was perplexed as to what Whinny-Muir and its whinnes were. A little research on the Lyke-Wake Dirge has led me to conclude that whinnes are a form of gorse or sticker bush as it is better known in the U.S. and I suppose that Whinny-Muir is the moor where the death-bound traveler would encounter them. The dirge recommends wearing ones hosen and shoon, if one has them, otherwise one's bare feet will be pricked to the bare bane. This is part of what one suffers on the way to the Brig (Bridge) o' Dread that has to be crossed on the way to Purgatory. The term lyke itself mean a dead body and seems to have disappeared from usage other than in lych gate that is the church entrance that was used for said bodies awaiting burial. One small further curiosity is that fire and sleet became fire and fleet somewhere along the way. I'm sure that Lawrence Yates could have done a lot better, but I thought I'd share what I dug up (largely, I am obliged to admit, from wackapedia - caveat lector), in case anyone else out there ever wondered likewise. Blow, bugle, blow, set the wild echoes flying, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Brahms' father
I searched this out from Oxford Music on-line (and I believe it brief enough to quote without fear): A resourceful musician of modest talent, Johann Jakob learnt to play several instruments, including the flute, horn, violin and double bass, and in 1826 moved to the free Hanseatic port of Hamburg, where he earned his living playing in dance halls and taverns. In 1830, as a condition for gaining citizenship (Kleinbürger), he joined the local militia as a horn player; he also became a member of a sextet at the fashionable Alster Pavilion. Later he played the double bass and occasionally the flute in the Hamburg Philharmonie, obtaining a regular position as a bass player in 1864 through the influence of his son. While I was there, I also checked out Gioacchino Rossini and found: Rossini's father was a trumpeter and horn player, his mother a singer. Both toured the theatres of the Romagna, and from an early age Gioachino, their only child, accompanied them. The family moved in 1802 to Lugo, and two years later to Bologna, where with private tuition Rossini made rapid progress on the horn and keyboard, and especially as a singer (in 1805 he made a public appearance as the boy Adolfo in Paër's opera Camilla). And we all know about Franz Strauss' accomplishments; we could also add Gunther Schuller to the ranks of hornist composers not known primarily as horn players (though his father Arthur played violin in NY Phil under Toscanini), if we want to start widening and loosening our scope and lower the bar a bit (I'm not commenting on Schuller's compositions, just his relative level of acceptance in the Pantheon of composers). Cheers, Peter Hirsch date: Thu, 20 Nov 2008 11:43:14 - (GMT) from: Kit Wolf [EMAIL PROTECTED] subject: Re: [Hornlist] Brahms Trio, Op. 40 Also, whilst we're on the subject I'm sure I once heard that Brahms played the horn. I know his father did, but the biography I've read doesn't seem to mention whether he did too. It seemed to make a lot of sense - I'm not generally a huge fan but I like his horn writing. Can anybody confirm or contradict? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: 100 year old recording
Leonard, There is also a cylinder recording of this piece. I have done some research on it and wrote the following about it as part of the project: Die Post or The Post in the Forest. This is unquestionably the oldest item with significant horn content that I have ever run across. It was recorded for Edison Phonograph and released as Blue Amberol 478 and 2444 (different recordings) in August 1910. The cylinder featured players from the Boston Symphony Orchestra, which was then a predominantly German ensemble. This was the case until the advent of the First World War. This event and the later coming of Pierre Monteux and Charles Munch resulted in a significant shift towards the French, both in personnel and in playing style. The cornet soloist on this recording was Gustave F. Heim and the accompanying Waldhorn Quartett was made up of George Wendler, Franz Hain, Wilhelm Gebhardt and Heinrich Lorbeer. I have had some correspondence with Norm Schweikert about this recording and he pointed me in the direction of an article published in Horn Call that called into question some of the personnel information that was included in the original Edison release announcement. I was left somewhat confused, but it appears that the publicity pictures in the announcement were altered (way before PhotoShop) and at least one of the players was a different B.S.O. hornist than the caption indicates. I don't have the correspondence, release announcement or article at hand at the moment, but the recording date and location is not in question. Anyone interested can hear these cylinders by way of the University of California, Santa Barbara at: http://cylinders.library.ucsb.edu/[EMAIL PROTECTED]query=postnum=1start=5sortBy=sortOrder=ia http://cylinders.library.ucsb.edu/search.php?query=postnum=1[EMAIL PROTECTED]sortBy=sortOrder=iastart=6 These URLs might be difficult to copy and paste into your browser, so an easier method might be to search ucsb cylinder which ought to bring you to the Cylinder Preservation and Digitization Project homepage and you can search on post which turns these recordings up number 5 and 6 on the list. The files can be streamed or downloaded as WAV or MP3. This is all public domain material, trust me. I notice that one version has the date 1914 and I am pretty sure that this cannot be an accurate date of recording; possibly it refers to issue date. The Edison release announcement date is beyond question and I don't see much likelihood that these five players went back to the recording horn a second time to record the same piece 4 years after the first session. I also have a Columbia 12 78 disc of the NY Liederkranz with Waldhornquartett doing the Mendelssohn Jaeger's Abscheid, but this dates from March 1926, or thereabouts. The playing on these recordings is amazing to hear, despite the sonic restrictions of recording and playback. A real time machine experience. I'd love to hear the recordings that Hans talks of in his message. Peter Hirsch date: Mon, 17 Nov 2008 07:57:57 +0100 from: [EMAIL PROTECTED] [EMAIL PROTECTED] subject: Re: [Hornlist] 100 year old recording Hello all, I own a recording of Die Post im Walde (The Postman in the forest) with the Stiegler Quartett Adolf Stiegler playing cornet, recorded around 1900, Farewell to the forest by Mendelssohn, also with the Stiegler quartet. They are on one-sided recordings, also marked 555 + xxx (copies) evidence copy. Bruno Hoyer Gustav Kaleve playing the Serenade for Flute Horn by Emil Titl and Schumanns Traeumerei on the same record, played by Bruno Hoyer - with a big nerve vibrato. This record is recorded a bit later (around 1910-15: still royal chamber musicians) How do they sound: scratchy but lovely. But their sound cannot be compared with todays sound, as the microphones (very simple devices) were very poor that time. Greetings Hans ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Donato Inglese
Well, playing the devil's advocate for a bit, I have to say that I got a good laugh (actually, copious chuckles, one guffaw, generous groans, a gaggle of gasps of stunned shock, plus a few dohs of disbelief) when I stumbled on Donato's videos a month or two ago. I find that there is room in my universe for an appreciation of this demented hornist's approach. Would I call him a good player? Well, certainly not one that I'd slavishly follow as a mentor and role model, but he does have a spirit that is admirable in a fashion. Chops unrestrained by taste of any sort are kind of a waste, but they do appear to be chops in my opinion. As in the case of Rudi Mazac (another notorious tricky fingered note-fiend), he has worked himself out onto a limb and it will be up to him to make or break a career and/or cultivate a public following, since the realm of musical organizations that could embrace his style of playing would seem to be limited. Yes, I also checked out Allegrini at the same time (I'm not sure which one led to the other) and thought his playing was exquisite, musically and technically. Why someone with such incredible artistry is not better known is beyond me. Yes, I'd go to a great deal of trouble and expense to hear him, but, if I were to turn back the clock a few decades to when I regularly attended horn-jock parties (and enjoyed all the associated atmosphere), I think it would be Sig. Inglese that I'd want to invite. Oh, and if you can find that guy who plays the horn standing on his head, locked in a bass trunk and while simultaneously accompanying himself the piano (three different stunts, not all at the same time; that would just be silly), check it out, too. (If I still had 2 cents anymore, this would be where I'd be putting it) Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bayreuth Horn players 1930/31
I'm now looking at a couple of booklet/handbooks (way too hefty to be simply called programs) from the Bayreuth Festival seasons of 1930 and 1931. Each has a quadruple fold-out list of the cast and orchestra (conductors - Furtwaengler, Muck, Toscanini, Elmendorff, S. Wagner). With 2 complete Rings, plus a combined 13 performances of Parsifal, Tristan and Tannhaeuser, it is not surprising to see that 10 horn players (plus 4 Tenor- und Bass- Tuba) were under contract. In 1930, Adolf Buhl, Albert Doescher, Gustav Hahn, Karl Kisch, Ernst Koch, Hermann Triegel, Willi Weber, Hans Westermann, Roert Zenner and Max Zimolong were the horns. In 31, Paul Rembt and Engelbert Nemec appear in place of Buhl and Weber. The Tuba players in both years were Franz Koller, Hans Koller, Hermann Moissl, and Anton Stark, all of Vienna. Max Zimolong is the only name that I have encountered before, but there is an affiliation listed for most of the players that gives a bit of context. I don't suppose anyone out there knows more about any of these hornists of old (with Hans having a good long soak in Indo-China, I guess I may have to wait for enlightenment in this area). Schuss, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Effects in Debussy Afternoon of a Fawn Fawn of a Fawn Afternoon of a Fawn
We are talking a satyr-like creature and not Bambi here (Cabbage, can you help me out on this). No disrespect intended, but this sort of thing (like saxaphone or Phil Farcus) tends to spread on the list if unchecked. And now, back to your regularly scheduled horn related matters. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: David Matthews:Capriccio
Jaakko, In addition, another note from the score: Conceived more as large chamber music than for orchestra--Pref. This somewhat begs the original question. I will try to look at the score tomorrow and give an opinion on how suitable it would be to treat it as a chamber piece and solistic the horn parts look. Peter Hello, Is Capriccio by David Matthews a solo piece for two horn soloists and strin= gs or a chamber music piece for two horns and strings?=20 Thanks in advance! Jaakko V=E4lim=E4ki Finland=0A=0A=0A In the Library of Congress cataloging record, which you can see at: http://lccn.loc.gov/99480981 we find the note: Of the two horn parts, the first plays a concertante role throughout, while the second is mostly a bass part, though it joins the first in a cadenza.--Pref. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Photos of Dennis Brain
I just stumbled on this using the Facesaerch http://www.facesaerch.com/ engine. This image search engine filters so that only portrait-type images come up in the results. Whenever I am testing out a new search tool, I need some terms to search for and, for some reason, Dennis Brain seems to be one that comes to mind. One of the results lead to the following: http://www.npg.org.uk/live/search/person.asp?LinkID=mp51268 Peter Hirsch (FYI - none of the images of Peter Hirsch are me) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: NY Times horn feature
Glad to say, I was on vacation for nearly a month and did not go near a computer or other email-equipped device during that span, so I did not have to experience this discussion in real time. I did, however read the article on the day it was published (believe it or not, you can get the NY Times at the general store on an island 10 miles off the coast of Maine, but have to pay a premium price for it) and anticipated the brouhaha that it would unleash. I won't go into what I thought, thereby re-igniting the thread, other than to say that the direct personal references to Phil Myers and Dave Jolley were pretty bush league, not to mention pretty inaccurate (I was sitting in the front row at the first performance of the 92nd Street Y concert and Dave did have some difficulty with the Adagio and Allegro - and it still was a musically inspiring concert when considered as a whole). What I did want to toss in was that it was Lester Salomon that lost his gig at the Met due to messing up the second horn part in Fidelio. I have heard various versions of this tale, including directly from the late Lester Salomon himself and I am not sure about the lawsuit part from my any of my recollections but Lester did lose his job. Maybe it was someone else that was named in the review or maybe it was an entirely different incident (after all, we are talking about Fidelio, which gets played a lot and generally gives a lot of agita to the horns, here) Any other old timers on the list have a clearer picture on this? I will dig around the NY Times archives to see if I can dig any old skeletons up. Peter Hirsch date: Wed, 13 Aug 2008 18:58:59 -0400 from: Debbie Schmidt [EMAIL PROTECTED] subject: Re: [Hornlist] NY Times horn feature I did not find the article upsetting but the problem is It is not balanced in the talking of the whole of a season. Secondly, without a union a article like this could mean the end of a job for someone. Many years a go there was a scathing review of the MET orchestra playing I believe Fidelio. It talked about the opening solos. It mentioned one of the principals by name just so happens it was not the guy in the pit. There was a lawsuit for defamation and the player named but not playing won. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Alun Hoddinott
To assist with on-line searching, try the correct spelling Hoddinott. Not sure if Hoddinut will dredge up anything, though Mr. Dalley has kindly given you most everything you need for locating and purchasing purposes. Of course if you are looking for a library copy to borrow, the proper spelling may be the only one the catalog you use may accept. Just tryin' ta help, Punto message: 2 date: Mon, 26 May 2008 23:17:42 + from: [EMAIL PROTECTED] subject: [Hornlist] Re:Welsh horn Music Best known Welsh composer is Alun Hoddinut. He composed a Concerto, a Sonata and a piece for horn and strings Aubade and Scherzo. All are published (in Horn and Piano) by Oxford. This is according to the Dalley Horn Datalogue - 2006 Edition on CD ROM. Also consider William Mathias, Concerto, also published by Oxford. Danial Jones, another Welsh composer has not written any solo works for horn that I know about, but has written an interestin Wind Quintet Divertimento published by Music Masters, Pensacola, Florida. Regards. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Iggy Leutgeb goes pop
Hans, I see that Grove puts Ignaz in brackets after Joseph, but I guess that I spent too much time in my youth (and not so youth) reading Krazy Kat (or having it read to me by my dad), George Herrimann's masterwork. You may not get the reference, but middle-aged Americans on the list ought to. My best, Peter Hirsch (of Kokonino County) message: 13 date: Thu, 08 May 2008 03:52:40 +0200 from: [EMAIL PROTECTED] [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Mozart Leutgeb Peter, his name was not Ignaz Leutgeb. Ignaz was just a nickname. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NHR - Rexburg question
Having spent a couple of weeks in Rexburg in 1983 (or 84 - my reasons for being there totally and utterly NHR) I am surprised to be reminded of my little sojourn by recent postings. One question: the main focus of Rexburg's existence seemed to be the local institution, Ricks College. Does anyone have knowledge that it is now the BYU-Idaho campus that was mentioned? Thanks, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: Lucien Thevet
FYI - For anyone going to the trouble of ordering, I believe that there are actually 2 volumes of Thevet material available from Arpeges. I can check on this later and will supply information then. For anyone who has not heard the recording of the Bach fugue arrangement for quartet (I believe that Georges Barboteu plays third), be prepared for quite a revelation of virtuoso technique (and endurance) from a recording made way before the digital editing era. Peter Hirsch message: 7 date: Thu, 17 Apr 2008 23:05:21 +0200 (CEST) from: Kevin CLEARY [EMAIL PROTECTED] subject: [Hornlist] re: Lucien Thevet A recording on CD of the Villanelle, Siegfried,Gallay Preludes,Brahms trio,= Poulenc Elegie and the Bach Grande Fugue by Lucien Thevet with Jean-Claude= Ambrosini - piano - is available from Ap=C3=A8ges music in Paris www.arpe= ges.fr for 19 Euros. I studied with Lucien Thevet for a year 30 years ago -= he was an outstanding musician and hornplayer even though his style of pla= ying had already changed in France by the 1970's. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Jean Devemy
Though I think something might have been missing from Lawrences' or Hans' post, seeing Devemy drawn into the discussion reminded me of his recording of the Brahms Trio. I will attempt to make a fair-use sized clip available in the near future (if I can locate the damned 10-inch disc somewhere on my shelves). In light of some of the comments on out of fashion style and vibrato, it is useful to listen to such recordings as this and also Yakov Shapiro's with Kogan and Gilels to be reminded of how wide a spectrum of sounds can be enlisted in the service of a single piece of music. message: 8 date: Thu, 17 Apr 2008 13:24:35 +0200 from: hans [EMAIL PROTECTED] subject: RE: [Hornlist] Thevet plays Villanelle Jean Devemy, who died 1969 at age 71; he was successor to Vouillermoz at the Paris Conservatory. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, April 17, 2008 8:17 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Thevet plays Villanelle Sorry, Howard, Just re-read the first posting - it says that they were recorded early fifites. A french friend of mine (who plays with a big, non-vibrato sound) tells me that the trend to play with what we all see as french vibrato was all down to one very influential teacher at the Paris Conservatoire. The teacher's name escapes me for the moment. The style is now long out of fashion and most, if not all, french players now aim for a much bigger style with no vibrato, a similar kind of sound that everyone else produces nowadays - sad really, Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Rainier DeIntinis
I saw that today's NY Times has a small paid obituary for Dinny who died last Friday posted by the Philharmonic. I did not know him personally, but it seemed that everyone that I knew when I was in school, that went to Juilliard, studied with him. He had many fine students; it would be pointless to try to enumerate them here (though I will mention current section members Eric Ralske and Allen Spanjer as part of his teaching legacy). He also was a face in the NY Phil horn section that I remember from my earliest concert attendance in the early (James Chambers) sixties and well into the (Phil Myers) nineties when he retired. Unfortunately, I can't dig up his obituary online or I would insert a link to it, but it did say that he was 83, had served in the Philharmonic from 1950 to 1993 (as fourth, third and second - though I only recall seeing him as third in my experience) and taught at Juilliard and Mannes. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Link to DeIntinis obituary
I think this may work (or you can just Google horn deintinis and the link should appear) http://www.legacy.com/nytimes/DeathNotices.asp?Page=LifeStoryPersonID=107654016 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wagner Tuba
Robson, Though it is primarily an historical study and not a guide to playing, William Melton's series of articles in the Horn Call (published in various issues ca. 2002 - 2004) are must reading for getting the facts on the Wagner tuba. I am surprised that Bill hasn't chimed in on this thread. I don't know how much this intersects with or duplicates his articles, but there is a ton of info from him at: http://www.wagner-tuba.com/wagnertuba_melton/melton_intro.htm I also see an article by bill at: http://www.draeseke.org/essays/wmtuba.htm that explores one of the rare sightings of the WT outside of Wagner, Bruckner, Strauss. Further links are: http://www.uh.edu/engines/epi2341.htm (includes audio) http://www.public.asu.edu/~jqerics/Wagner-tuba.html http://www.hornplanet.com/hornpage/museum/history/horn_history5.html That should keep you busy for a while, Regards, Peter Hirsch message: 4 date: Fri, 11 Apr 2008 10:50:49 -0300 from: Robson Adabo de Mello [EMAIL PROTECTED] subject: Re: [Hornlist] Wagner Tuba I'm just curious about this instrument. You know, it's a little rare and I think this list is the best place to obtain information. Few times in my life I had opportunity to play a french horn. In the beginning I had strange feeling that the attacks were not so clear like I had in my trumpet. The tessitura was much bigger and I had a different feeling on my lips ... I never had the opportunity to play a WT, but for sure I won't miss when I have it! I feel that the sound of the WT is much darker than the horn and also a little louder. What about extreme registers (high and low), is it harder on the WT? What about articulation, is it harder the get a clear articulation? Thank you very much Robson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Possibly horn related - I can't tell
Any elk hunters out there? http://www.nytimes.com/2008/02/27/us/27elk.html?_r=1scp=1sq=elkst=nytoref=slogin ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NYPO horns in Korea
This whole thread is amusing in what it reveals of the poster's attitudes and I won't attempt to compound or rebut any specific post other than to echo Debbie by saying we've all been there, done that on some level when things just did not come together the way they were supposed to for whatever reason. To add on and redirect the thread a bit - I had the odd experience of first hearing the Dvorak finale over the local NPR station and then seeing it a few minutes later on TV. I don't know why they weren't simulcast but instead the video had a 10 or 15 minute lag from the radio. What was interesting was that, as the big moment in the last movement approached, my wife (a hornplayer, too) and stopped chatting and focussed on the music coming from the radio - da, dah, dat-d, dah da doo daah - flawless, plain as day and just as I've seen it in Pottag and on the stand in the orchestra for 40 plus years, note for note. My wife said easy for him to say! and then I decided to see what was happening on TV. A few minutes elapsed and I get to see what was clearly a total misfire; visible and audible. Nice editing job by NPR and kudos to the television crew for keeping it real. At the end of the broadcast, I saw a fund-raising promo offering a commemorative DVD of the concert. I wonder which version will prevail. As far as who was where in the section, I was a little confused. I have to say that I only saw the Dvorak and not the rest of the performance which might have made things clearer as to who was filling in as associate and who were on third and assistant. What was clear was that Phil played lead, Allen Spanjer and Howard Wall were the low horns. I don't think it was Eric Ralske assisting (though I could be wrong on this) and I have no idea if the tall, lantern-jawed third horn was the new assistant - Thomas Jöstlein (I just checked the orchestra's web-site and it definitely appears to be him, so I take what I just wrote back). My guess, since I didn't see the rest, is that Ralske played principal on at least some of the other works and the bearded assistant (I only counted 5 horns, though there may have been six involved over the course of the concert) a sub since they have been down a player since Jerry Ashby died in December. Maybe another NY area freelancer (how about it, Debbie?) knows the identity of the mystery man. Cheers to all, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: NYPO horns in Korea
Jeremy, For the record, neither concert transmission was live. I think the actual performance was streamed on the net at 4AM EST yesterday. Now, I'm sure you are right about the logistics of plugging in a few notes without the benefit of a second take or performance, but at least there was half-a-day plus for the wizards to do their magic, if indeed that is what happened. I should also add that the radio I was listening to it on was a $65 Sony boom-box sitting in my kitchen, so maybe our ears deceived us with the help of some mediocre over the air reception. I did not tape either the radio or TV, so it is all gone with the wind (other than the ensuing brouhaha) at this point. Peter date: Wed, 27 Feb 2008 12:08:51 -0500 from: Jeremy Cucco [EMAIL PROTECTED] subject: RE: [Hornlist] NYPO horns in Korea That=92s definitely interesting. If they ran a version which had no blipped horn run, then they had to have run a previous recording. Thanks to the laws of physics, there's really no way to splice such a section in from a previous or different concert without half or more of the listening public to scratch their heads and wonder what just happened. I've had some success splicing different takes from different performances, but the venue, players' seating positions, temperature, humidity and a few other factors need to be identical or darn similar. Splicing from different concert halls, different altitudes, different latitudes, different player seatings, different temperatures...that would be a nightmare and certainly not one possible in a 7 to 15 minute time delay. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bumpers
Larry Jellison states: I quit playing Kopprasch several years ago because I thought the sounds coming out of my horn were annoying, too. Never thought of blaming the bumpers. More somberly, has there ever been a discussion on this list of bumpers? Bumpers need to allow quiet valve action, not cause a bounce, yet consistently stop at the same location over a long period of time (years, hopefully). I have been thinking of trying glue from a hot glue gun, applying the hot glue directly to the bumper location-- should make a perfect fit, then the excess would be trimmed with a razor blade. The hot glue comes in varying grades of hardness Larry I observe - Interesting, though somewhat eyebrow raising. My 13 year old daughter has a glue stick gun for various hobby related purposes and it would not be something I'd be eager to wrestle with in the tight confines of the underside of my horn. What I most wanted to say was somewhat obliquely related to the topic, which is to say that I expect to hear some response from our British correspondents about our misuse of the term that they use for what we benighted New Worlders call subs (no, not hero sandwiches or underwater boats, but those deputized by contracted players to fill in for them at services). I leave it to the satirical stylings of others to extract any potential humor in this. Cheers, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Right handed horn player
For what it is worth, in my school days of yore, I played the Brahms trio with a violinist who held the fiddle backwards, with his hands reversed, fingering with his right hand. He is still quite active on the free-lance scene in the city here and it seems not to have too seriously hampered his opportunities to perform. On the other hand, I wouldn't say that it didn't present certain difficulties, mostly related to seating issues, not unlike those posed in this thread already. In playing the Brahms, we had to sit next to each other, facing the pianist, to avoid having either player pointing the sound producing end of their instrument away from the audience. It worked out well and only took a short time to acclimate to. I seem to recall him sitting without a stand partner in the orchestra at school, though there may have also been other accommodations that were made that I can't recall. The bottom line was that he was and is a damn fine player. I would say that the obstacles would have seemed greater if his playing was only mediocre and this would probably follow suit for a horn player that exhibits a similar anomalous characteristic. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Arrangements of beloved music
Hans P. schreibt: If it is Wagner, R.Strauss (be careful, still protected !) or Mahler, - keep things going. But I still wait for Isoldes Liebestod played by a 120 head wind orchestra ... Rolling on the floor. Holy Friday from Parsifal, Ride of the Valkyries, Flying Dutchman Ouverture - all are arranged sound quite well - sometimes. und, Herb F. antwortet: message: 18 date: Fri, 11 Jan 2008 09:53:16 -0800 (PST) from: Herbert Foster [EMAIL PROTECTED] subject: RE: [Hornlist] Humperdink Evening Prayer from Hansel Und Gretal I tend to agree with Hans on this one, though not as adamantly. Changing the sound source does alter the character of the music, and it may wind up being different music. For example, while I dislike playing Sousa intensely, I have yet to hear a symphony orchestra do justice to a Sousa march, which should make your feet want to march. Only a band gives it the right character. An orchestra I play in played the St. Louis Blues. It was awful. Better a rock band should play Liebestod from Tristan und Isolde. Please tell me it hasn't been done. I have the same problem with arrangements for horn choirs. They're fun to play, but not for public performance. Only horn players really enjoy them. Herb Foster So, now, I'll abandon my decrepit German and wade into this a bit, by saying that I find arrangements, more often than not, less satisfying than the original. There are a number of exceptions or variants on this (Mussorgsky/Ravel Pictures, W. Schuman's takes on Ives' Variations on America pop immediately to mind) this rule of thumb and I have to add that I don't feel that it should really be anyone's concern if someone wastes their time making an arrangement that comes off worse than the original piece (unless you are forced, without pay, to play it). I agree with Herb's examples that some things just translate very poorly in their new medium and this is related to what is behind the general feebleness of most crossover artists and their efforts. There are, again, numerous exceptions where classical themes have been treated effectively by jazz artists, like Art Tatum, and I have heard Hendrix played by Meridian Arts ensemble and other adventurous groups with much pleasure. Keeping it relatively brief and close to some of the specific points raised, I suggest finding a copy of Kenton plays Wagner (Capitol STAO-2217, rel. 1964). I don't see it on CD, but there are copies of the LP pretty easily found on ebay and elsewhere. This will probably thrill and horrify, in equal measure, most true horn fans and Wagner freaks and I suggest that it is required listening for all interested in this debate. A Ho-Jo, to-go to all, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Julius Watkins - was: anyone ever heard this?
As does every few months or so, the topic of Julius Watkins has surfaced on the list. Someone (actually my junior HS band teacher from back in 1962) recently brought the dissertation JULIUS WATKINS AND THE EVOLUTION OF THE JAZZ FRENCH HORN GENRE http://etd.fcla.edu/UF/UFE0012940/smith_p.pdf to my attention. He sent me the link since the paper contains an extensive interview with yours truly reminiscing about JW. Unfortunately, this was my first glimpse of the interview transcript and I was alternately somewhat bemused and appalled at the amount of misquotation and invention that had found its way into the text and my biographical information (I am not now nor have I ever been the journalist it claims I am. If I were, I'm sure I'd have learned to write better by now). The entire work is riddled with unwarranted suppositions and speculations, typos, factual inaccuracies, wrong name spellings and a generally poor style of writing. The author also, in my opinion, fails to grasp the nature of what made his playing and the recordings he made so mind boggling and significant., though others may draw different conclusions. Having said all of that, I strongly urge all who are interested in the man to read it; it does significantly add to the knowledge bank (even if you subtract all the bad information contained) on Julius. I respect all the time and effort that went into it and am glad to say I read every word; it just is a bit discouraging to think some readers will take it all as gospel truth and it is shocking, to me, to think that one can obtain a doctorate without the written portion of one's studies showing that the basics of scholarly research and writing have been attended to. I understand why many hornplayers feel compelled to obtain advanced degrees so that they can have ghost of a chance of landing a teaching job in a world where supporting oneself and dependents exclusively by playing is next to impossible (and only those who can are able to land teaching jobs without the D. Mus. or Ph. D.), but it is depressing to see results such as these. I don't mean this as an attack on the author nearly as much as an indictment of any system that accepts and supports such low standards. As I said, on balance, you really ought to take the time to check it out. Peace on earth, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] French Horns for my Lady
Tom, Buy it. Not a rarity and not the most interesting example of Julius Watkin's ability in the stratospheric range as a jazz player, but unquestionably a must have. Don't pay more than around $20, though. There are plenty of copies around and I purchased one not too long ago for around $15. Nice cover art, too. Regards, Peter Hirsch message: 12 date: Wed, 19 Dec 2007 23:19:32 -0600 from: Hunt,Thomas [EMAIL PROTECTED] subject: [Hornlist] anyone ever heard this? surfing, I found this LP. Any one ever heard it? Julius Watkins - French Horns For My Lady Label:Philips Catalog#: PHS 600-001 Format: Vinyl, LP Country: US Released: 1962 Genre:Jazz Style:Smooth Jazz, Easy Listening Credits: Arranged By, Conductor - Billy Byers Bass - George Duvivier French Horn - Bob Northern , Gunther Schuller , Jimmy Buffington , John Barrows , Julius Watkins Percussion [Congas] - Ray Barretto Piano, Vibraphone - Eddie Costa Producer - Quincy Jones Trumpet - Roger Mozian Tuba - Jay McAllister Notes:Recorded in New York City in 1962. Printed inner sleeve. tom in iowa ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Minneapolis Symphony in 1940
Anyone on the list have memories or other knowledge of who was leading the horn section in 1940 (specifically, November 4) for the Dimitri Mitropoulos Mahler 1st recording? Weldon Wilber is the only name that I can associate with that orchestra from way-back (and I my have my Midwestern cities mixed up on this anyway). Hoping against hope, Peter Hirsch (who has plenty to say about the polarized nature of the reaction to my posting on Elliott Carter, but not the time to write it all down at the moment) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ralph Hermann horn concerto
Ellen, For what it's worth, the manuscript of the concerto (with band, as it was written) is at the Vandercook College of Music in Chicago: http://www.vandercook.edu/archives/collections/h_m.htm If all else fails, you could try contacting them. Biographical info is at: http://www.windband.org/foothill/pgm_note/notes_h.htm#Hermann The James Chambers plays the French horn LP that came out in 1960 went a long way in popularizing this piece. By the time I got my first copy, later in the 60's, it was already hard to find the music. I don't think that it ever had wide distribution, though I saw some copies once or twice over the years. Unfortunately, I didn't snatch them up at the time. And, yes, Wilbert, it does end with a Technicolor bang (though I recall that there were simpler alternate options written in the part). Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Pictures/Bernst/NYPhil
Aleks, As I mentioned, previously, the recording session for Pictures took place on October 14, 1958. The NY Phil played the following program at Carnegie Hall on October 9, 10, 11 12: Leonard Bernstein conducting Gilbert: Comedy Overture on Negro Themes MacDowell: Indian Suite no. 2 in e minor Chopin: Piano concerto no. 2 in f minor, op. 21 (Guiomar Novaes) Moussorgsky-Ravel: Pictures at an exhibition The back page of the program lists the horns: James Chambers Joseph Singer Louis Ricci Ranier De Intinis Marcus Fischer William Namen (Aside - the only name that appears on the personnel list that is still with the orchestra is Stanley Drucker - e-flat clarinet in 1958, principal in 2007. Somewhat horn-related, I see Arthur Schuller towards the front of the second violin section. He was Gunther's pop. I worked with him quite a bit after he retired from the Philharmonic and had relocated to somewhere up near Poughkeepsie and he was a fount of stories and information, not to mention very proud of his son's accomplishments. Though he must have been 80-something at the time, I remember doing bus and truck tours with him and he seemed to be the one who knew the hot spots in whatever town we touched down in and would be in the vanguard of any post-performance expedition). It is possible that Joe Singer was playing solo, but, given the arrangement of the program, I suspect that Chambers played the big work on this occasion. I may pursue this out of general curiousness and give Barbara Haws a call over at the NYPO archives, though, when I have visited there, I did not see much evidence that this sort of paper trail (day-to-day rosters and contracts for specific recordings) was preserved. Unfortunately, from what I know of the recording industry, I don't think that Columbia (now Sony) Records would be holding on to this information after 49 years either. Peter H. -- message: 3 date: Tue, 16 Oct 2007 00:33:52 -0400 from: Aleks Ozolins [EMAIL PROTECTED] subject: [Hornlist] Pictures/Bernst/NYPhil Does anyone know who the first horn on this recording was? This is the one on the Great Performances label. Aleks Ozolins ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pictures/Bernst/NYPhil
Pete, I personally have no memory of this and I would think that an exhaustive Chambers discography including all orchestral (NY and Philly) recordings (in addition to his recital LP and some NY Phil brass quintet ones that I am aware of, not to mention the various free-lance work he did) would have been a major project. If this article was indexed, it should be relatively easy to find. I'll take a look tonight and see what turns up. I did give the Philharmonic's archivist a call and she said that they might have the information somewhere there. She agreed that it ought to be Chambers playing, but that he could always have been on vacation or sick at the time. This information would be recorded somewhere and she said that she ought to be able to check within about a week. Thanks, Peter Hirsch [EMAIL PROTECTED] wrote on 10/17/2007 01:42:33 PM: If I recall correctly, someone compiled a list of recordings featuring James Chambers. It was maybe 20 years ago and published by the International Horn Society. Does anyone still have one of these somewhere or does this email jog any memories of that list? Pete Jilka Kansas City, MO ** See what's new at http://www.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: Pictures/Bernstein
When replying, please edit your Subject line so it is more specific than Re: Contents of Horn digest... Please edit replies to include only relevant text. Please DO NOT include the entire digest in your reply. For more netiquette information, see: http://www.netmeister.org/news/learn2quote.html Today's Topics: 1. Weight loss (Gary Borton) 2. RE: Weight loss (Steve Freides) 3. Pictures/Bernst/NYPhil (Aleks Ozolins) 4. Band accompaniment to Strauss 2? (BVD Press) -- message: 1 date: Mon, 15 Oct 2007 17:33:53 -0600 from: Gary Borton [EMAIL PROTECTED] subject: [Hornlist] Weight loss Hi: I don't know the answer medically, but just had a thought on what I go through when I try to loose weight too fast. When my doctor puts me on a diet he also gives me a diuretic, and everything feels thinner - even my fingers - my wedding ring gets really loose for example. In fact, I figure most of the pounds I loose on a quick loss program are in fact losses in water, not in real fat. To make a pound of fat loss requires a diet deficit of about 3500 calories. That's around 15 hours of moderate walking or a big daily caloric depravation for a week. And on the diuretics, my lips feel thinner and extra sensitive, but they still work and I haven't noticed any real difficulty playing? Just my two cents worth folks, no flame jobs for lack of scientific data, OK? Gary -- message: 2 date: Mon, 15 Oct 2007 20:14:28 -0400 from: Steve Freides [EMAIL PROTECTED] subject: RE: [Hornlist] Weight loss -Original Message- From: Gary Borton [mailto:[EMAIL PROTECTED] I don't know the answer medically, but just had a thought on what I go through when I try to loose weight too fast. When my doctor puts me on a diet he also gives me a diuretic, and everything feels thinner - even my fingers - my wedding ring gets really loose for example. In fact, I figure most of the pounds I loose on a quick loss program are in fact losses in water, not in real fat. To make a pound of fat loss requires a diet deficit of about 3500 calories. That's around 15 hours of moderate walking or a big daily caloric depravation for a week. And on the diuretics, my lips feel thinner and extra sensitive, but they still work and I haven't noticed any real difficulty playing? Just my two cents worth folks, no flame jobs for lack of scientific data, OK? Gary, why would you try to lose weight too fast? And why would your doctor give you a diuretic? Most people lose some water weight on whatever diet they go on, anyway, but since losing water weight is effectively fake weight loss, why bother? The usual recommendation is to try to lose about one pound per week, thus requiring about a 500 calorie per day deficit. 500 calories x 7 days = 3500 calories or one pound per week. -S- Aleks, I don't know if this information is on your copy or not, but I found out, via a NY Phil discography published last year, that the recording was made on October 14, 1958 at the St. George Hotel in Brooklyn. I can dig a bit further, since I have access to a full set of NYPSO programs for most of the 20th century, to see who was in the section at that exact point in time, but this was prime time for James Chambers and I would assume that it is him. The Philharmonic has an archivist, Barbara Haws, who can be contacted if you want to see if they have preserved any records of who was present at specific recording sessions. If you want to get in touch, I can get her phone number and email address to you. I'll post the result of my program personnel search tomorrow. Regards, Peter Hirsch -- message: 3 date: Tue, 16 Oct 2007 00:33:52 -0400 from: Aleks Ozolins [EMAIL PROTECTED] subject: [Hornlist] Pictures/Bernst/NYPhil Does anyone know who the first horn on this recording was? This is the one on the Great Performances label. Aleks Ozolins ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Doug Yeo's Listserv/Internet dissertation - most definitely ON topic
I want to publicly thank those, including John Dutton, for pointing me in the direction of Doug's article. It is long (though its length is appropriate to its scope), thoughtful and I find that I don't feel completely in sync with all that he brings into the discussion (religion, in particular). For all of these reasons, including my discomfort with some of his premises, I consider it essential reading. I knew him only slightly in the four years that we played together in the Goldman Band and had visited his website at a time predating this addition to it, so reading it comes as somewhat of a revelation. It may take a half hour to absorb initially (and probably much longer to digest) but it pleases me to imagine the upgrade in the level of communication and sharing that would result (and I am not limiting this to the hornlist) if we all dropped what we were doing and took the time to enter Doug Yeo's frame of mind. Peter Hirsch date: Sun, 23 Sep 2007 09:41:35 -0600 from: John Dutton [EMAIL PROTECTED] subject: [Hornlist] OT-a pro's perspective on listservs http://www.yeodoug.com/articles/text/what_happened.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Loud orchestras
Some of the loudest playing that I ever heard, in Avery Fisher Hall - home of the NY Phil, mind you, was the Kirov Orchestra under Gergiev, The same forces also upped the wattage at the Met when they did the Ring last summer (and I have heard many performances of these operas there under the incredibly fine resident band), so I would hesitate to call this a uniquely American phenomenon. I could cite other instances if I didn't find this thread so tiresome already. As I risk being accused of prolonging the same thread, I'll try to not wade too deeply into the fray on this one. I find it incredibly pointless to look at it as an either / or situation. Is it possible to defend loud or moderate playing in absolute terms or might if be possible that context has a little to do with it? I can think of many situations where blasting brass benefits a performance (some sections of Sacre aren't exactly meant to sound like tip-toe-ing through the tulips) and just as many where less is more should rule the day. To return slightly to one of the accused miscreants of the Philharmonic that appeared on TV the other night, I have heard Phil Myers complimented as much for his ability to play with exquisite tone and control at barely audible sound levels as for his battering-ram multi-fortissimos, so I really feel we are dealing with a straw man (I know I'm not using this precisely as it is defined, but it's close enough) in this unnecessary argument. The issue is not loud or soft, but is the music being served and are the audience's guts and soul being thereby reached. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Berlin Hornists
To clarify the exchange a bit, I was able to contact Eric Borninkhof, the proprietor of Rimskys-Horns, through the contact form on the site and he has agreed to sell me a copy, payable by PayPal. If you want to write to him directly about this CD, you can do it at: [EMAIL PROTECTED] He may have more copies for sale (and you can also pre-order an interesting looking Wagneriana disc by the Capricorno Horn Ensemble and get copies of two CDs by the Vienna Horns). On the other hand, you may prefer to wait for Alexander to finish their efforts to get a distributor for the disc or try Ken Pope [EMAIL PROTECTED], who seems to have some copies that he will be putting on sale (and save a bit on international postage). Peter Hirsch message: 4 date: Thu, 13 Sep 2007 22:19:48 +0100 from: Tom Warner [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Berlin Hornists On 12 Sep 2007, at 7:00 pm, [EMAIL PROTECTED] wrote: http://www.rimskys-horns.com/eng/nieuws.html This information is incredibly helpful. After my posting, I spent (way too much) time looking for a location that offered the CD or any information about it and came up with zilch. Berliner Philharmoniker, Gebr. Alexander and all of my usual horn/import CD sources (Ulrich Koebl, TAP, Paxman, Osmun, jpc.de) were all of no avail. This was particularly frustrating since I realized that I had confused this Berlin Horn ensemble CD with the Vienna Horns, Art of Brass CD that is also on the Rimsky-Horns site and saw that I didn't have a copy of it yet (will remedy that ASAP). That site is helpful if you want to see what 'Opera looks like but, I wasn't able to purchase it. Anyone else have any luck? Tom -- message: 5 date: Thu, 13 Sep 2007 17:32:32 -0700 (PDT) from: justin ellis [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Berlin Hornists NO, you have to talk to the guy directly through email. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Berlin Hornists
Bill, This information is incredibly helpful. After my posting, I spent (way too much) time looking for a location that offered the CD or any information about it and came up with zilch. Berliner Philharmoniker, Gebr. Alexander and all of my usual horn/import CD sources (Ulrich Koebl, TAP, Paxman, Osmun, jpc.de) were all of no avail. This was particularly frustrating since I realized that I had confused this Berlin Horn ensemble CD with the Vienna Horns, Art of Brass CD that is also on the Rimsky-Horns site and saw that I didn't have a copy of it yet (will remedy that ASAP). Tuesday morning, I took a second look at the NY Sun site and there was reader comment to the effect that Nordlingers's comment that it shouldn't be too hard to find a copy on the internet was wishful thinking. I followed up with a more detailed me too that also pointed out that Stefan Dohr and not Dorn is lead on the CD. There was no response to this and it doesn't seem that they saw fit to post my comments (at least not as of a minute ago). Another comment now appears from someone else pleading for information, but no response from Nordlinger or the editors. The Sun seems to be an on-line only publication (though I am not completely sure that is the reason that I have never noticed it at a newsstand). The writing of their music critics (Fred Kirshnit seems to be their other regular classical guy) stands out for being contrary to whatever the general consensus is in other papers. Quality is pretty much what you saw - no particular care seems to be given to facts, spellings or other editorial details; more of a blog feel than real writing. Someone I know mails me a lot of the reviews from it since I complained to him once that I often wonder if the writer of a review I have read in the Times was at the same concert I attended or played. The reviews certainly are different, but mostly are slightly irritating and occasionally worth reading. I do have to add that it turns out that one of their pop music writers, Will Friedwald, is an old friend of mine and a recognized authority on Sinatra and the vocal tradition he represents, though he doesn't write as a concert reviewer for the Sun. Read at your own risk, is my advice. Peter message: 17 date: Wed, 12 Sep 2007 13:43:15 +0200 from: William Melton [EMAIL PROTECTED] subject: [Hornlist] Re: Berlin Hornists You'll have to search the CD out yourself. It is produced by Gebr. Alexander (you've heard of them?) and I can't recall how I obtained my copy. If anyone is after the BPO hornists' Opera CD, try the following Dutch site: http://www.rimskys-horns.com/eng/nieuws.html Peter, I agree it's a terrific CD, but just for us foreigners, how is the NY Sun regarded in journalistic circles? I haven't stumbled over such a sloppily written review in quite awhile. Bill Melton Hauset (B) / Sinfonie Orchester Aachen (D) -- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Berlin - Vienna HornsOpera review in NY The Sun online
http://www.nysun.com/article/62262 You'll have to search the CD out yourself. It is produced by Gebr. Alexander (you've heard of them?) and I can't recall how I obtained my copy. You can try (http://www.gebr-alexander.com doesn't seem to acknowledge its existence) Paxman, jpc.de, TAP Music, Osmun, for all I know, maybe ArkivMusic.com may have it. Enjoy, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Kudos to Dan, etc. - an apology
Upon receiving the digest today, I read the following paragraph that I sent to the list last night: First, I must wholeheartedly second Ellen and raise her a Franklin. Dan has let me know, off-list, the error of my ways many times, sparing me the embarrassment of further revealing my ignorance of just about everything list related (and sometimes totally unrelated) the my friends on the list. He has done this with amazing speed and effectiveness, whether or not I had addressed my frustration to him directly or not and his explanations actually make sense (not necessarily a given from my personal experience). I now realize that it made just about no sense at all and even Dan couldn't save me from my own negligent typing (it was kind of late and I just may have consumed something of a higher proof than valve oil at the time, but that would be no excuse). Re-edited for comprehensibility: First, I must wholeheartedly second Ellen and raise her a Franklin in my praise of out list administrator. Dan has let me know, off-list, the error of my ways many times, sparing me the embarrassment of further revealing my ignorance of just about everything list-related (and sometimes totally unrelated) to my friends on the list. He has done this with amazing speed and effectiveness, whether or not I had addressed my frustration to him directly and his explanations actually made sense (not necessarily a given from my personal experience). You can stop scratching your heads now. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Clarification - What the heck?
I may not have made myself clear. I can verify that I certainly am a crabby old guy who has been known to bitch and moan about the level of discourse on this list over the years, but that was not what I was doing (at least it was not my primary aim) in my post. It seemed to me that I had been reading the same digest over and over again. I mean, not just quoted and re-quoted, but the same digest with the same messages and the same dates. Maybe I'm losing it in my dotage (the shock of turning 57 on the exact semi-centenary of Brain's demise may have hastened this), but I just wanted confirmation or denial of this from someone out there on the list. Well, now that I have probably further confused and alienated those that I have already offended and befuddled, I'll leave it at that. And to the person that implied that I'd be better off starting a new topic, I'll just assume that she is new on this list since I am sure that the number and variety of my past postings speak for themselves. You could look it up. Harumph, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] What the heck?
Is it just me or are the list digests just repeating themselves? Literally. I was away for a month and am now going through about 28 digests and most of them are the same lists of movie soundtracks with awesome horn parts (it might be harder to list the movie scores with lousy horn parts, in my opinion - think about what the purpose of movie music has been traditionally) or why you should or shouldn't have an anxiety attack if you are asked to play the Mozart 29th. After more than a decade on the list, I am used to endless diatribes on carrying your horn on a plane or what horn or recording of a piece is the best, but I am not sure that this looping of the digest has a precedent. Am I the only one experiencing this unpleasant phenomenon? Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] looking for lost contact = JR Cranshaw
Sorry to bother the list at large, but my mail system has started archiving all saved messages over a year old, thus making them functionally inaccessible most of the time, so I can't just dig the one I need out of the pile when I need an old address. Anyhow, if Jimmy Ray is on the list or anyone knows his postal (and/or email) address, I'd appreciate their getting in touch with me. Thanks, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] more horn-related summer reading
I just received a request from my friend and list-member Eva Heater, who is unable to post directly to the list for some unknown technical reasons, that I convey this addition: the 'Interesting Narrative of the Life of Olaudah Equiano', an autobiography of a former slave and horn player. The fact that he was a horn player is incidental to his story (he played just for 'recreation'), and that's why I originally read it, but I am so glad that I did. I've already emailed this to the person who originally made the query, but the rest of the list may be interested. A great read. I believe that another good friend, John Mason, may have some additional insights into this title that he may wish to share since I recall an earlier Equiano thread that John contributed to significantly. I don't have his address on the computer that I am writing this on, so I can't copy him directly, but I assume that John will see this eventually. Regards, Peter Hirsch (who is about to head to Amazon to fill this particular glaring gap in his personal bookshelf) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The serenade and - another book
David, Carlberg and list, David, thanks for remembering this more clearly than I was able to. And also, thanks to Carlberg who sent me the text the first time around a number of years ago. An equal music by Vikram Seth has been recommended to me by a former colleague at the music library that employs me and my mother-in-law, both of whom I believe to have decent taste. I haven't read it but it has classical musicians as characters and I believe that rehearsals of a work (real or imaginary) by Beethoven is central to the plot. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn/music related novels?
I have read the Schisgal and it is amusing, with actual horn-related content. You can get it pretty easily second hand. I also have a post-apocalyptic sci-fi novel called Davy by Edgar Pangborn whose protagonist totes around a horn as a sort of symbol of authority (I can't recall if he actually plays it or not). There's the Strange Case of Sidd Finch saga, of course, which is an elaborate baseball hoax-tale by George Plimpton which also features a main character that plays the horn. There was a story by George Bernard Shaw that was discussed on the list about a decade ago that I believe was called The music hour. More exist, no doubt, but there is no great American novel based on the life of a horn player, free-lance or with a regular gig, that I am aware of. Lots of books about the horn and playing, many of them good summer fare. You could look them up, that's what the subject index in the library catalog is for. (Hints - Horn (Musical instrument), Horn (Musical instrument) -- History, Horn (Musical instrument) -- Instruction and study -- Handbooks, manuals, etc., Horn (Musical instrument) -- Pictorial works., Horn music -- Bibliography -- Catalogs, Horn music -- Bibliography. are all good places to start your search) That's the bibliographic instruction for the day, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Albert Dietrich horn concerto
I just have been listening to a recording of 19th century German cello concerti (Gernsheim, Volkmann, Dietrich and Schumann) and read in the notes that Dietrich composed a horn concerto. I checked Grove and see that he has an opus 27 Concertpiece (Konzertstueck) for horn and an opus 29 Horn concerto. Anyone (Bill Melton, Hans, et al) out there know the whereabouts of this piece, MS or published? I have not done any digging yet, but I do not recall any modern edition (or recording) of either of them. Considering that Dietrich was a fellow student of Schumann's with Brahms (cf. the FAE Violin sonata), the prospect os such a work is at least promising. The cello concerto is not a huge revelation, but not half-bad, either. It would be nice to add to Matys, Franz Strauss, Kalliwoda, Lortzing (to name the first of a farily small list that come to mind) in the area of horn concerti following Mozart and Weber and preceding Richard Strauss. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 54, Issue 14
My guess is that Hans is correct (in part) and it was this Sony CD that I found listed as having been broadcast on KBPS on March 7, 2006 that you heard recently: Der Ring des Nibelungen: Fantasy for Horn and Piano - Roland Horvath (after Richard Wagner) Gunter Hogner, horn/Stefan Vladar, piano (Label: Sony 52564) It is by Guenter Hoegner (of the VPO) as a member of the Ensemble Wien-Berlin and is not a WWV Aricord recording. It looks like this CD is out of print, though Arkivmusic.com is now making many out of print CDs available on demand, so it may be worth looking into this if you'd really like to get your hands on it. It has a number of other fantasies for a solo wind instrument and piano and the playing is as good as you'd expect given the pedigree. There is some chance that Horvath has included this piece on one of his many LPs and CDs, though I don't recall that he did. I'll check what I have at home later and let you know if there is indeed another recording. Regards, Peter Hirsch date: Wed, 13 Jun 2007 13:35:03 -0500 from: Jonathan Yoder [EMAIL PROTECTED] subject: [Hornlist] Fantasy for Horn and Piano on Wagner Themes Hello, I heard this piece (Fantasy for Horn and Piano on Wagner Themes) on a local= station this morning and have been unable to locate the recording. Anyone= out there know how to find it? Jonathan Yoder Central Illinois _ message: 2 date: Wed, 13 Jun 2007 22:06:20 +0200 from: [EMAIL PROTECTED] [EMAIL PROTECTED] subject: Re: [Hornlist] Fantasy for Horn and Piano on Wagner Themes Could be you get some info from Wiener Waldhorn Verein (WWV) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Levy Suite
Melvin, I am nearly 100% certain that his piece has never been recorded (if it has, it must be on some privately produce production that has eluded me). Naxos has released at least one CD of his music, but nothing horn related. Back when I started to take private lessons, ca. 1960, I studied with Art Goldstein (Prof. Schmutzig - grand uncle of and spiritual godfather to I.M. Gestopftmitscheiss) and he assigned some pieces by Levy for me to study. I believe that Levy played cello at Radio City while Goldstein was there, though their connection may have been through the Chicago Symphony (we're talking memories over 4 1/2 decades old here, so I am less than sure). Cor Publishing was Art's outfit and it published all of the Levy tunes. I don't think Art is still actively involved (I assume that he is still alive, lacking any other information) but I do recall that the Cor catalog was taken in by some other operation not too many years back (just checked; it's Wiltshire Music Co. and seems to still be carrying the Cor titles). I'm sure this is of no help in finding a recording, but maybe it will be of interest anyway, Regards, Peter Hirsch message: 5 date: Mon, 04 Jun 2007 17:20:39 -0700 from: Melvin Baldwin [EMAIL PROTECTED] subject: [Hornlist] Levy Suite Hi everyone, I bought the Suite for Flute, Horn and Harpsichord by Frank Levy quite a few years back. Now, I'm considering actually working on it. Does anyone know of a recording available? Also, the music I purchased is in handwritten manuscript-has it been reprinted recently? Thanks, Melvin ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Trying to contact list members
I am attempting to resume an off-list correspondence thread that lapsed about 2 1/2 years ago, so I could use current email addresses for the following list members (or a ping from them directly): Mike Atkinson John Baumgart Pieter de Jonghe Joe Duke Neuro Hwang Sonja Reynolds Steve Slaff I few days ago, sent a mailing to about twenty names and heard back from 6 and these 7 bounced back. The rest either floated off into the ether or they weren't responded to for one reason or another. Any help will be most appreciated. Thanks in advance, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Haendel solos at the Metropolitan opera
Thanks to some connections I have I was able to purchase house seats for a performance of Giulio Cesare a few days before the broadcast that is mentioned and got to sit in the second row with a clear view of the horn section. The playing was exactly as cited (though my wife went to a performance later in the run that was not quite as scary-perfect). A few interesting things that I noted were that Julie used an assistant for Va tacito to give her a handful of split-seconds presumably to take the mouthpiece off of the embouchure, mostly on lower notes in the midst of long solo lines. The effect of her playing that night is hard to describe, except to say that it was so secure in tone and centered in pitch that it did not feel possible that she would fail to nail any of the concert F's (and she didn't). Later, in the third act, the horns played in antiphonal pairs from opposite ends of the (huge) pit. The G-pair were on my side and it was again almost too perfect to be believed as they sang their way up to high G. This is not to say that it was musically lacking in any way. Aside from that, the singing and acting was surprisingly good considering the odds against performing 18th century opera in 3,000 seat house with modern instruments. David Daniels was astounding as Caesar once one got the countertenor thing resolved in one's ear and mind. The opera really has too much music but it is all really first rate and the duet for Caesar and Cleopatra at the end was as beautiful as it was powerful, particularly after what felt like 100 arias in a row. I meant to report on this back when it was fresh, but never got around to it, so I am glad it came up here now. Peter Hirsch (and not Hirsh or Hiersch) date: Tue, 29 May 2007 11:04:37 -0700 from: Howard Sanner [EMAIL PROTECTED] subject: [Hornlist] Re: Haendel solos There's an interlude in Act III of Giulio Cesare for four horns. The Met section did a bang up job on it (and Landsman a fine one on I see a huntsman) during the broadcast in April. Jaw droppingly good even by their standards, which is saying a mouthful, IMNSHO. (And yes, I am positive Landsman and her section were playing.) Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Any Latvian experts out there?
I stumbled across the following CD listed in a catalog: http://www.balticshop.com/cgi-bin/item.cgi?item=1178cat=507title=Search_Result and am wondering just what we have here. I can see that the Freischuetz Hunters chorus and Mendelssohn Hunter's farewell are on the disc (Medniek apparently is hunter in Latvian) and most of the standard German hunting songs seem to be represented but I can't tell if there is any actual horn content, the cover art notwithstanding. What this all has to do with the Latvian railroad's 80th anniversary is a further mystery. There really is nothing in the page that I can see that identifies performer(s) other than Janis Sprogis (diacritics stripped) who seems to be some sort of Lithuanian Mantovani. Has anyone seen an actual copy? Hoping against hope, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Correction on Sprogis (Latvian sthread)
Further looking on the subject of my last post reveals that Sprogis is not the arranger, conductor (at least I assume not) but the tenor soloist on this and other CDs. Just to set the record straight, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] work(s) for organ/piano and chorus with horn obligato?
How about: Norman Dello Joio The mystic trumpeter (Whitman) SATB, horn, 1943 (sorry, no keyboard part) There are some others, but it might take some further digging. I was convinced that Doug Hill had something that he wrote and recorded like this but I can't find it (I did turn up his Thoughtful wanderings for natural horn and percussion if Richard Burdick hasn't already noted that). and didn't Cabbage do something of this sort? Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Natural LIgeti
In answer to Richard's question about the Ligeti, the writing in the trio is essentially all written to be played on various partials changing fingerings only to go to a different harmonic series (I'm sure no one understands this unless they have seen the score, but I am unable to express it any other way). In his Hamburg concerto for horn, there are several natural horns in the orchestra, each pitched in a different key. I am not sure but I beleive that the solo uses some of the same techniques that I described in the trio. Bill Purvis or M-L Neunecker could probably be more authoritative on this, but I am not in touch with either of them, though I have heard both of them live in these great works and each of them have recorded the trio, Marie-Luise the concerto, too. Peter H. message: 2 date: Tue, 01 May 2007 20:37:10 -0700 from: [EMAIL PROTECTED] subject: [Hornlist] RE: Modern works for Natural horn Richard Burdick wrote: I am working on a list of compositions written since 1900 for the natural horn. So far the list is quite short. I don't know what your exact criteria are, in terms of instrumentation (whether only works which feature the natural horn as a solo instrument are to be included). In any case, your list will grow substantially. In terms of significant works, certainly Ligeti comes to mind. And if you don't mind a mildly cheeky answer, given your 1900 cut-off - how about the Ravel Pavane? Thanks David! I'll put the Ravel on the list for now, I had thought of that too . . . What is the Ligeti? I thought his trio (with violin piano) was for valve horn . . (?) NO exact criteria except I am not really looking for hunting music Richard ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bjork's band (OT rant)
In re: message: 14 date: Tue, 1 May 2007 07:32:45 -0700 (PDT) from: matthew scheffelman [EMAIL PROTECTED] subject: [Hornlist] RE: Teaching children... Kendall, Actually, Bjork to my ears is great. Her band was unrefined, yes i agree, but I liked that, kind of like a atonal wind up music box. Her movie Dancer in the Dark was a beautiful piece. She starred and sang all the music. I actually sent in a post to this list following the SNL broadcast that apparently was one of those resounding zen trees falling in the forest since no one felt moved to comment at the time. First off, I need to say that, while I have not been closely following the Icelandic damozel's career too closely, it is clear at a glance that she has something distinctive going (and I enjoyed it in a subliminal mindless way - which is OK by me). And yet, I can see why brother Kendall takes offense at the back up horn trio; they clearly are backup performers given brass instruments to play rather than trained brass players hired for their musical ability. This understandably drives those of us who have spent even a few months (to say nothing of years and decades) of serious effort learning to play the most beautiful and rewarding instrument in the universe (or maybe I should say enslaved to the bitch-goddess to spice up the discussion?) into fits. One hopes that effort and determination and sincerity would count in the quest for outlets for one's muse, but that clearly is not what drives most of pop music, certainly not when it comes to how pop chooses to showcase acoustic orchestral instruments. How often do you see some rock or pop star on late night TV or in concert at Radio City with a backup orchestra made up of (or have even a healthy minority of) middle aged white men (and MAWM do exist in the music business, I am told)? So often it is a heavily minority-laden group of female violinists standing in a row sawing out a few repetitive licks that make Kendall's Tune-a-Day sound like Paganini caprices. Please don't just go on to the next tired chops thread thinking that this is simply the raving of a misogynist and racist old fart (well, actually I am a raving old fart, but never mind that part) and miss the point. And that point is? Many possibilities: That the classical and pop markets have essentially nothing to do with each other - Pop audiences have no idea what goes into the act on stage and could care less - We all should be strikingly attractive latina-asian violinists - That we should all just do what we do best and enjoy most and not worry about what anyone else is doing - Add some of your own; I guess you could say I'm trolling a bit on this one, but only because I think it doesn't hurt to think about and discuss issues that are OT but not related to horn equipment or study once in a while. Happy Worker's Day, laborers of the (horn) world, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bjork's Earth Intruders include 3 horns as backup
Don't exactly know how much interest there might be in this, but there is definite horn content once you get about 2:45 into it. I got home late from a gig last Saturday and this on SNL about 12:30 AM when I switched it on. I only caught the last few moments, so I tracked this down to see what it was that I had seen a fragment of: http://www.youtube.com/watch?v=iIt2Tb5dOAs Actually, I thought it was kind of catchy, in a Sun Ra kind of mode. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Olivier Messiaen (1908-1992)
One of the towering individualists, whether you care for his methods and moods or not. http://oliviermessiaen.net/ I'm not commenting on the jewish thing, though it is an interesting enough topic. Peter Hirsch p.s. On a more horn related topic, I just picked up a heavily discounted copy (like about $1.99) of Adam Carse's Musical Wind Instruments. It is interesting to note that the chapter on horn, lists what it is called the most commonly encounter languages used in published music and the term French is not even alluded to anywhere. Not to stir this up again - I know that no one seems to know what I am talking about when I say that I play horn (unless they are horn players themselves) so I can accept reality, but it still bugs me that there really is no rational authoritative reason, other than ignorance, to support this. Well, I guess I did it anyhow. Hirsch again message: 19 date: Thu, 22 Mar 2007 09:53:36 -0400 from: David Goldberg [EMAIL PROTECTED] subject: Re: [Hornlist] Bernhard Heiden Inspired by Mara's original question, I wondered if the French composer Olivier Messiaen is Jewish. Messiaen was interned in a Nazi concentration camp in 1940 and while there, he composed a quartet for the four instruments that were available to him, these being a piano, violin, clarinet, and a cello with only three strings. You could say that this quartet is painful and deep. The quartet was performed in the camp for the inmates and prison guards. What a moment that must have been. In any case Messiaen, still living I think, is Christian, and was captured as a French soldier. For what it is worth, that's all interesting in the story of this very unlikely case of a composition, at least. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mahler 5 by Leipzig - Big Apple alert
Dave M. breathlessly reports: message: 7 date: Mon, 5 Mar 2007 06:04:56 GMT from: [EMAIL PROTECTED] [EMAIL PROTECTED] subject: Re: [Hornlist] Re: most difficult works Hi Horn Folks- Just to throw my two cents in here: I recently had the opportunity to attend a performance of Mahler 5 by the Gewandhaus Orchestra (Leipzig) at Orchestra Hall in Chicago. Wow, what a show. = I wanted to say that their principal horn player played the 3rd movement obligato part like I've never heard - it was just thrilling. Him and the section frequently played with bells up (way above the shoulders) and it was very effective. Now for the risk taking part, the section was very tight and I only heard a few fracked notes in the tutti parts, none very bad at all. However, one of the loud solo horn calls in 3rd movement the pricipal really missed. I mean like what the h*** was that coming out of the horn. I loved it. That made the performace for me. Maybe it is hard to explain, but it would have been so boring had he not gone all out and taken risks. Hearing a splat made it a lot more real for me. It is sad that a lot of people learn all the rep listening to edited and perfected studio recordings, it just is not the same. = I hope you all out there know what I mean. Man was that impressive, all-out but exquisitely refined horn-playing. I'll never forget I hope. I'd much, much prefer to hear that than a conservative and boring rendition. = Goodnight , = Dave Meichle Lawrence University ps. Was anyone at this concert 2 weekends ago? = I just want to alert NYC folk that this is on the program Tuesday March 6 (tomorrow) at Carnegie. I gots my ticket - waddabout you? Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] More Telemann Works for Horn
Unless I have missed it, no one has mentioned the Concerto in Eb for 2 horns and strings from Tafelmusik, part III. Telemann wrote many more works (concerti, suites, overture-suites) with two or more horns. Follow the links below to see some recordings of a number of them (but definitely not all there are) If these links are too hard for your browser to follow, just go to www.arkivmusic.com and got to the composer search, select Telemann and then search the entries under Concertos, Orchestral and Tafelmusik: http://www.arkivmusic.com/classical/Drilldown?name_id1=11975name_role1=1genre=1bcorder=19comp_id=97131 http://www.arkivmusic.com/classical/albumList.jsp?name_id1=11975name_role1=1comp_id=17165genre=55bcorder=195 http://www.arkivmusic.com/classical/albumList.jsp?name_id1=11975name_role1=1comp_id=17166genre=55bcorder=195 If you look carefully, you may notice that the same work shows up in more than one location under slightly differing names and Telemann catalog numbers. The Telemann Werksverzeichnis (if that is what it calls itself) is not nearly as coherent and universally accepted as Koechel and BWV numbers are for Mozart and Bach, respectively. So, it takes more than a little digging to get to the root of this matter. Maybe Hans or someone else out there knows that current state of that catalog and if there actually is a complete edition for Georg Philipp or not. His output was huge, even judged in comparison to WAM and JSB, so it is no wonder that a detailed overall picture is hard to come by. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Air travel with your axe redux
Hans, I thought the same about the luggage belt. My guess is that it was just sloppy newspaper writing and they were talking about the small conveyor belt for the x-ray. If he had carried it with him on the previous leg of his flight, as he claimed, the case would never have been anywhere near a luggage belt. Peter message: 9 date: Wed, 11 Oct 2006 07:10:07 +0200 from: hans [EMAIL PROTECTED] subject: RE: [Hornlist] Air travel with your axe redux Thank you, Peter, for this N.Y.Times story. But something is strange with that story: why was the trumpet case on the luggage belt ? Hand luggage is not on any luggage belt except the very short belt through the x-ray-machine. I just can repeat here, curing symptoms is the wrong way, as one must look for the source of the illness first. = ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Things Straussian
Bill, Always pleased when I can draw you out of the woodwork and get a posting from you on the list. Suttner was on my short list of likely suspects, not because I actually know much of anything about him, but because I was given a copy of the horn and piano version of his Horn Concerto by an extremely elderly (certainly well into his 80s at the time and still playing in a community orchestra out on Long Island) horn player, by the name of Jacob Tillinger around 25 years ago. I believe that Tillinger had studied with him and the part has what appear to be Suttner's markings in it. After announcing my quest to unmask Hans' mystery man, I had intended to start by digging the music out of my collection and perusing it for clues, but your reply has come before I got around to it. What strikes me in particular is its cadenza which has multiphonics that make the Weber Concertino or Ethel Smyth Double Concerto examples look like child's play by comparison. Secondly, I completely agree with you that the Stefan Dohr Strauss CD is in a class by itself. Also, if I had taken the time to search my shelves for it, I also could have avoided confusing it with Richard's Intro, them and variations since it is also on the disc. I have a few similar collections that originate from your side of the pond and I didn't mention or place them for consideration them at the time due to the relative difficulty of obtaining them. I was also hesitant to cite anything that I could not provide a direct discographic citation for. Sadly, I have not cataloged my personal collections (music, recordings, books), though they long ago grew beyond my capacity for retrieval simply relying on my memory of where everything is. This is regrettable, but it's not like I'm some sort of librarian or archivist or something like that insert - very big sheepish grin. Regards, Peter Hirsch message: 4 date: Tue, 10 Oct 2006 21:38:35 +0200 from: William Melton [EMAIL PROTECTED] subject: [Hornlist] Things Straussian Of many things mentioned by Prof. Pizka, this nugget provoked interest: My source is reliable as the owner was just 17 years younger than Franz Strauss=B4 son Richard ... The two scores are part of the heritage of the famous horn player who=B4s biography I=B4m writing at the moment ... More news later, as soon as the biography is completed, a very honourful task for me, as the player was one of my played with some of his students for his six last birthdays before he died at age 93. The distinguished musical archivist Peter Hirsch responded: (Hmmm, now let me see. I wonder if anyone on this list can put enough o= f Hans' clues to figure out just who he means. No mystery here. Peter, the mysterious hornist's birth date alone (1864 plus 17 equals 1881) indicates that we are talking about Prof. Pizka's predecessor Josef Suttner (1881-1974; the latter date confirming the 93 years ascribed to this hornist by Prof. Pizka). Turning to the the recordings of the Franz Strauss Theme Var. : I have heard them and they are all at least competent. Frankly, when you are talking about a piece like this, there is really no big interpretive' deal. They all play the notes,.some with more panache and clarity than others, but none of them are going to make you think that you are listening to the Adagio and Allegro. Silk purse and sow's ear and all that, you know. Mr. Hirsch is absolutely right: the piece in question is not one of the gems of our literature. However, there's a recording out there that hasn't been mentioned that offers an additional aspect, one not limited to the interpretive. If authenticity, a quality that tends to be valuable no matter the level of the music, is of interest, look up the recording by Stefan Dohr and Markus Becker: http://www.campanella-musica.com/catalogue/130120.htm I've read thoughtful lamentations on this list about the disappearance of authentic national styles of horn sound. Dohr represents the current generation of the Alexander 103 oriented German school, with nearly a century of stylistic pedigree. He is also solo hornist of the finest ensemble in Germany, so you can't go wrong. Bill Melton Hauset (B) / Sinfonie Orchester Aachen (D) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: recording of Franz Strauss Theme and Variations
Yesterday, I wrote: I'm just saying that you oughtn't fret over whether or not you have a good recording; in this case any that doesn't willfully misrepresent what Franz put to paper (did I once read that this was actually written by Richard, or am I mixing this up with something else?) will do quite nicely And Hans replied today: Hello Peter, you are mixing things up indeed. R.Strauss wrote a piece Introduction, Thema Var. Op.17 at age 14 (1878) but it has nothing to do with this op.13 by Franz Strauss. It exists with orchestral accompaniment as does his original fantasy op.6 other pieces, I discovered two pieces for two horns in E orchestra by Franz Strauss, composed in his early years. The Strauss Society in Garmisch did not know them. My source is reliable as the owner was just 17 years younger than Franz Strauss´ son Richard. The composition date is given on the front page as 1847. The two scores are part of the heritage of the famous horn player who´s biography I´m writing at the moment. He left over 3000 pages on program notes critics (concert reviews) collected throughout his long career. He eventually played under famous Wagner conductor Hans Richter manytimes. More news later, as soon as the biography is completed, a very honourful task for me, as the player was one of my played with some of his students for his six last birthdays before he died at age 93. Well, I guess that I am my own best illustration of what I frequently criticize others on this list for. I should have gotten up off of my posterior and tracked down the information that I dimly (and incorrectly) recalled before stating something, no matter how provisionally, that I really did not know to be fact. The up side of this is that Hans' reply reveals some very interesting news about Franz and Richard S's horn compositions and also the biographical work that he himself is engaged in. I await the eventual publication of this work that promises to be of extreme historical interest and not just to the hardcore horn freak. Peter Hirsch (Hmmm, now let me see. I wonder if anyone on this list can put enough of Hans' clues to figure out just who he means. This guessing game puts me in mind of Walter Hecht's Significa back in the old days of the list in the twentieth century) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Air travel with your axe redux
Well, this topic hasn't been hashed over on this list for at least a day or two, so I guess it's time to revisit once again by inviting you to follow the link to today's NY Times online: http://www.nytimes.com/2006/10/10/nyregion/10musician.html I can't say that I totally sympathize with one side or the other in this one. It looks like undue force and precipitate action on the part of the security but I have to image that Ponomarev might have taken other measures to keep his instrument with him. Of course, I wasn't there, so I'm probably wrong on both accounts. Not flying anywhere for the time being and glad for that, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Neuling biographical info
The following came up on the music librarian's list and I thought that Hans, Bill M., Dave T. or one of our other Euro-based members might have more on Neuling than the wackykpedia one that seems cribbed from some unnamed source. I have my doubts that there really is much else to say about him (did he write anything else?), but I thought this was the place to settle matters on this. I suggest replying to the list and not to me directly and also copying Matthew [EMAIL PROTECTED] who originated this on the other list. Thanks. Peter Hirsch -- Date:Fri, 6 Oct 2006 11:27:47 -0500 From:Stock, Matthew C. [EMAIL PROTECTED] Subject: Hermann Neuling Dear Collective Wisdom, One of our horn students is seeking biographical information on hornist/composer Hermann Neuling for some program notes. I've been through all the usual sources without success, any help is greatly appreciated. The only details of his life I've found so far are on Wikipedia, (for what that's worth). h http://en.wikipedia.org/wiki/Hermann_Neuling=20 Thanks in advance, Matt Matt Stock Assistant Professor/Fine Applied Arts Librarian University Libraries University of Oklahoma (405)325-4243 [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Polekh Britten
The recording was only released on Melodiya LP, which is to say good luck finding a copy. This was true even when it was in print back in the old USSR days. If you want, I can look up the discographic info for you. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 45, Issue 16
Stephen, Just wondering your source for this recording and whether there is a label name or if it is just privately issued (I assume). I see that Ulrich Kobl carries this, but I was wondering if you had a domestic (or less pricey Euro) source. I haven't checked Paxman, Osmun or TAP, et al yet; maybe you can save me (and the rest of the list) a bit of trouble. Thanks, Peter Hirsch date: Wed, 13 Sep 2006 10:38:37 -0400 from: Stephen A.Maniscola [EMAIL PROTECTED] subject: [Hornlist] Guildhall Horn Soloists CD Just heard this CD ,Guildhall Horn Soloists,thanks to Bob Johnson,what a fine choice of horn music. Keeping up with new recordings is a great source of motivation.Just wondering if anyone else enjoyed it. [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Brandenburg w/ natural horns
Steve, I enjoyed this very much. The sound is so unforced that you can really believe that the pieces isn't hard to play at all. I agree with Hans that the few stopped F's were probably uncalled for but didn't find them too distracting overall. I also don't really know historically when horn players began to sit as a matter of course. I have seen many engravings from Mozart's era of ensembles and they all (except celli) seemed to be standing, even the horns. Still, I am not highly skilled at music iconography and may have missed those with them sitting. Maybe there is someone on the list that has more solid info on this. A Natural Horn list? That's new to me. Hope it's not hosted by Yahoo but I'd be interested in its location even if it is. Thanks, Peter Hirsch date: Wed, 13 Sep 2006 10:10:34 -0400 from: Steve Freides [EMAIL PROTECTED] subject: [Hornlist] Brandenburg w/ natural horns Tom Fisher wrote: You may enjoy this: http://www.youtube.com/watch?v=Zpf38dQpMzkmode=relatedsearch= This was posted on the Natural Horn list - I thoroughly enjoyed the playing, although I'm wondering why the French Horn players were lazy and had to sit since the violin players managed to stand. :) Enjoy. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: List related
Hans, Thanks for the posting below that focuses totally on clarification and the maintenance of coherence and integrity in one's written expressions in a listserv (not just this list)forum. I hope that all the members read is closely and truly understand it. My thoughts on it, addressed to the list at large, are as follow: I have not been happy with the recent recurrence of personal attacks on the list and have decided not to contribute to it by defending or attacking anyone myself. I will stick to this, but just say that I can still consider you (or anyone else) a valued colleague (and even a friend) despite direct criticism or occasionally intemperately expressed opinions. Not everything that I have ever posted on-line has come out exactly as I meant it, so I am always willing to give the benefit of the doubt whenever I imagine I have been insulted or negative comments are made about something that I might hold near and dear. And, in the end, I have to consider the fact that nobody's perfect and sometimes I can respect another list member while living with what I might consider a defect in their personality. Peace, Peter Hirsch message: 11 date: Wed, 13 Sep 2006 09:00:15 +0200 from: hans [EMAIL PROTECTED] subject: [Hornlist] List related One has to distinguish between comments about a certain politic of a group or state AND the people within that group. People means individual persons. These persons might also disagree with the opinion of the relevant group behave completely different. So, if one critizises a certain group behaviour, it does not mean critizising the individual. And, if one critizises the individual, it does not mean, critizising the whole group. If one quotes another letter, it is just fair, to quote the letter as it was AND let it unchanged. The quote might just be one paragraph or one sentence, but if the quote standing alone would have a different meaning as in the letter, one has to quote the WHOLE letter or the connected sentence or paragraph as well. If you do it differently (exceptions allowed when quoting funny typos etc.), you join the mass media their daily false or altered quotes the politicians. When you hang on your patriotic wave, why dont you concede others to be proud about the achievements the history of their country and nation ? Every country has light shadow, your country my country or the country where we live. Sippenhaftung is as stupid as racism. Digging into another persons private sphere in public, is very cheap, and the reaction should not surprise. And a certain person of a mature age MUST not tell another mature person how to behave. This is not a Kindergarten, even it seems so, at least sometimes. Yes, if you feel to critizise somebody in a humourous way, do it in a way, that the target person will understand your humour also. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Small apology to the list
I notice that my posting regarding the Brandenburgs on YouTube has the generic Horn Digest, Vol 45, Issue 13 subject since I carelessly responded to the digest without replacing the subject with something more appropriate. I am somewhat aggravated when others do this, since I rely on the subject when I am deciding if something is of interest enough to read, so I offer my mea culpa when I am similarly guilty. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] and a little correction to my apologia
Well, I meant to get it right, but it was not the Brandenburg message that I screwed up on. It was the Guildhall Horn CD. Now I'll shut up and get back to work. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Recording
Despite living and breathing sound recordings (collector in my spare time, audiovisual materials archivist and cataloger for pay) I know next to nothing about recording techniques and certainly am not in the same league as my friend Howard S., but I can say that I agree totally about flash memory (and other storage media that don't spin) as a means of superior recording potential. I have purchased 2 Marantz PMD (Models 660 and 670)units over the last couple of years and am quite happy with their ease of use and quality of recording. My wife uses the 660 and its pair of internal mikes to record her students at lessons. You can play back through its built in speaker and it is pretty user friendly once you have set the parameters on what input you are using, of what format you are recording in (mono, stereo, single channel) and what type of file (mp3, wav) you want to create and a few other tweaks. You can store three sets of defaults so that you don't have to be constantly changing these parameters when you go from recording a practice session to dubbing something from a source like a turntable. If you want to see for yourself, look at: http://www.d-mpro.com/users/folder.asp?FolderID=3629CatID=18SubCatID=169 http://www.d-mpro.com/users/folder.asp?FolderID=1582CatID=18SubCatID=169 Peter Hirsch message: 12 date: Wed, 19 Jul 2006 20:18:23 -0400 from: Howard Sanner [EMAIL PROTECTED] subject: [Hornlist] RE: Recording Joni Rice wonders: Where did you happen to buy this recorder, and what model # is it. I am looking for something similar to record myself and my trio for a college project. Thanks! I have gotten all my minidisc equipment and supplies from http://www.minidisco.com I have no affiliation with them beyond that of satisfied customer. However, if you have nothing and are starting from scratch, I'd recommend getting a flash memory recorder instead. One example is the M-Audio 24/96, which costs around $400 (i.e., not too much more than a minidisc). minidisco has flash memory recorders, too (as do other vendors). Even minidisco lists flash recorders first among portable recorders. The 24/96 is about the size of a deck of cards or pack of cigarettes. It is clear to me that the world is moving away from storage devices with moving parts. (I suspect the hard disk drive will be history in less than five years.) I wonder how much longer minidiscs will be supported. In addition, though I think minidiscs, even in LP2 mode, sound good, they do use a lossy compression scheme. Flash memory recorders do not compress the audio. Another reason is that most, maybe all, flash memory recorders use balanced I/O. This will reduce noise pickup with even moderate cable runs, a major factor in our world of light dimmers, wireless Internet, satellite TV, and so on. Someeone emailed me privately about noise pickup with unbalanded I/O a few days ago. I'll let him speak for himself. Balanced I/O also makes it easier to use high-quality, phantom-powered microphones if you want. We've discussed the M-Audio 24/96 on the Ampex Mailing List (http://recordist.com/ampex). Several people have reported that it does not put out a full 48VDC for phantom power. Whether M-Audio has or plans to fix this I do not know. I do know that many if not most phantom-powered microphones use the 48VDC to polarize the capsule and will be noisier than they should be with lower voltage. The bottom line, though, is to find a reasonable storage medium and spend the majority of your money on a pair of high-quality condenser microphones. HTH. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: A few slide questions
Steve, I know that it is probably a drag to set your slides painstakingly each time you take the horn out of the case, but I have always (well, for at lest twenty or thirty years) shoved them all the way back in before returning the horn to the case. Two reasons: 1. Gunk, dust and whatever else may be clinging to the lining of your (or anybody's) horn case will adhere to the exposed part of your slide, even if, like me, you do not grease the slides. This cannot be a good thing. When you do push the slide in for any reason, the gook will slide in with it, at least to some degree. 2. I have witnessed jammed and stuck slides that result from a slide that is never pushed all the way in being shoved, intentionally or accidentally, back all the way into its sleeve. Pushing the slides all the way in on a regular basis absolutely insures that this will never happen (well, as Captain Corcoran says in Pinafore hardly ever - anything is possible) I've always done this, because it seemed common sense and not that big a deal to do. My guess is that 9 out of 10 (probably 10 out of 10) repairmen could provide anecdotal support to my personal narrative. FWIW, Peter Hirsch message: 9 date: Tue, 30 May 2006 22:32:21 -0400 from: Steve Freides [EMAIL PROTECTED] subject: [Hornlist] A few slide questions 1. When I put my horn away in its case, should I leave the slides adjusted or slide them all fully back in? I recall someone saying I shouldn't leave them where I play them ... -snip- Thanks in advance for your replies. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horn advice
Dear (? - a name of some sort at the bottom is a nice touch that seems to have passed from fashion along with the ability to capitalize, punctuate and the sense not to quote and entire digest issue when posting. These are gentle requests and reminders, not a personal flame; just a way to promote a useful dialog in the future) First of all, welcome to the discussion here on the list. You'll get lots of advice, I'm sure. I would say firstoff that verly little that others can tell you about instruments, maybe other than longterm need for maintenance and repais, will really substitute for your own hard work devoted to trying the various horn options you have decided to consider. Don't let someone else tell you what you want or what is comfortable for you. Do listen to their anecdotal experiences and see if the do or don't jibe with your own; maybe that will give you some extra insight. Do the work yourself and you will know that the conclusions are good for you and not for Average Joe. That said, I will append that I happen to own two horns (the only ones that I have played on since the loaners I used up through my senior year in High School [1967/68]) and they are both on your list. My 8D has been with me close to 40 years and, of course, I can understand your love of it's tone. It is why, when the clanky valves (by the way, this horn was McCrackenized some years back and so cannot technically be considered more than slightly Conn at this point) were just getting to be too much for me, I looked into and ended up buying the Hoyer 7801 based on its sharing the same roots as my 8D. I will say that this is a fine instrument and a terrific piece of craftsmanship - I really enjoy playing it and do not regret buying it. What I will add that it does not (at least when I play it) replicate the 8D experience or tone at all. I like the sound and the 2 horns are much more matched in terms of tone and air requirements, but it DOES NOT sound or feel like an 8D and I often bring out the Conn when I am playing in an 8D section and/od have to cut through heavy percussion and brass sections (both of which were the case at performances of the Verdi Requiem that I was involved with last week). So that's my personal biased take on these two pieces of equipment (which are always of subsidiary importance to the one holding them). Go out and seek your own experiences and I'm, sure that it'll all become clear in the long run. Good luck. And please consider my comments above in their totality, Peter Tough love Hirsch message: 6 date: Fri, 12 May 2006 22:05:03 -0400 from: [EMAIL PROTECTED] subject: [Hornlist] horn advice ok so here is my problem im a college student majoring on the horn and ive been playing on a conn 8d and a yamaha 668 for the past three years nowi knew that i would have to get a new horn eventualy and now is that time... so my problem is that the yamaha horns ive tried , 668-ii, have a great grip for my hand size , they fit me perfect, on the other hand they dont have a very good tone for what im looking for...now the conn 8d has a great tone but the grip is horribly small and constricts my playing... i was looking into the hons hoyer heritage model horn,7801, but im still not sure yet on what kind of horn i want and need. so if anyone has any advice that would be great ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Works for Horn and Flute - flames
Perhaps some of this reaction may simply depend on one's tolerance of the sound of the flute. I happen to be one of those (whose numbers happen to have included Mozart - not that I'm comparing myself to him, mind you) who just cringe when asked to listen to flute music being played, even if the music is decent and the player exceptional. I do find that my senses do allow me to feel pleasure when listening to Griffes' Poem for flute and Mahler's use of tripled and quadrupled flutes on occasion is a nice effect, but that's about it. A few years back, I wrote some liner notes for a CD of Ewazen's Shadowcatcher and had to listen to it umpteen times in the process. I still liked the piece at the end, though not exceedingly and I have a good deal of respect for his understanding of the capabilities of wind instruments that I have heard in several of his other pieces. Even so, I purchased the CD with the flute and horn and piano thingie on it only because I just have to have any horn related recordings that represent music new to the world of recorded sound in particular. I listened to it once and that was just about enough (for me). As is often stated on this list in one form or another - your mileage may vary. Cheers (this salutation also plagiarized), Peter Hirsch date: Thu, 11 May 2006 12:20:34 -0700 from: Daniel B. Hrdy [EMAIL PROTECTED] subject: [Hornlist] Re: Re: Works for Horn and Flute - flames Wow, different tastes! Every horn payer I know loves the Ewazen Ballad Pastorale and Dance. The first movement, which was not on the clip, is somewhat more edgy than the other two, but I think all are wonderful. You should at least try it out - it is a lot of fun to play. DBH message: 11 date: Thu, 11 May 2006 00:03:29 -0700 (PDT) from: Larry Jellison [EMAIL PROTECTED] subject: [Hornlist] Ewazen's sound files I commented on not flaming Chris for his critical opinion based on listening to the sample sound clips at: http://www.ericewazen.com/newsite/music/balladehorn.html Willing to admit that I could be wrong, I listened to them again. Again, I come away with the opinion that these sound clips are unoriginal and cliche. Perhaps Ewazen's other compositions are worthy of professional praise. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss Alphorn recording
Hands down, the most beatiful (hornistically speaking) recording of the Strauss song Alphorn is Jamie Sommervilles on the Boston label. It is not widely available, but I see that TAP Music claims to have it. Try: http://asp2.secure-shopping.com/tapmusic/details.asp?ProdID=HNSJ03cat=CHNpath= Tuckwell is fine. There are plenty of other recordings (Hustis on Crystal, Adam Friedrich on Hungaroton, Jolley on Arabesque for example), but you do need to do a thorough seach of (online and print) catalogs to find them. Good luck, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss Alphorn recordings (2)
Add: Jeurissen on MDG, Joulain on Arion ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Flattened horn and L H
Hans, I think that you are remembering You're Darn Tootin' (1928) IMDB lists it http://www.imdb.com/title/tt0019607/ I found couple of stills from this movie years ago. One apparently shows them being evicted by their mean old lady character actor landlady and the other shows them looking downcast in a confrontation with their bandmaster. The credits list Hardy as Ollie, the French Horn Player, but he is holding a circular mellophone that looks somewhat hornlike. There is at least one real horn player in the band sitting in the background of this scene. The bandshell looks a lot like the one on the mall in Central Park ( http://www.centralpark2000.com/database/naumburg_bandshell.html) and may well be since this structure dates back to 1923. I'd love to know who the real horn player would have been, but I doubt that this can be tracked down. For all I know, it could have been Jaenicke or one of the other big names of the era - I'm sure that movie work was lucrative then, even if it was a silent movie. If anyone is interested, I can make a scanned copy of one or both of these images available (for educational purposes only). Peter Hirsch message: 6 date: Thu, 16 Mar 2006 06:29:37 +0100 from: Hans.Pizka [EMAIL PROTECTED] subject: RE: [Hornlist] horns on ebay Hello Paul, Good Morning (it is 06:21 A.M. here). Your horn is a plagiat definitely, as I have seen an old curved flat but not depleted Laurel Hardy, short before still used (farted) by Hardy. I saw it in one of their movies, when I was a school boy. Greetings Hans PS: From tomorrow on I turn in to the last round (year) before retirement, but still have fun playing demanding stuff (we are mid in the RING, but it is not much fun left, as the younger colleagues dont make that much fun as we did. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] More NHR Australian true facts!
I went and forwarded the snippet Bill Gross (without seeking permission; I'll admit it) posted to this list to the music librarian's list and one of the members sent me this pointer towards the full FAQ http://www.amazingaustralia.com.au/faq.htm Yes, amazing is the word for much of this, indeed. Stupefying also comes to mind. Sorry to digress, but it least it ain't politics, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart and horn with band
To those interested (Steve Friedes, et al); Koebl online - http://www.koebl.de/ Has a large section for Horn und Blasorchester oder Brass Band I have only purchased CDs from this source and the process has been somewhat involved and expensive (not entirely due to Koebl and obviously varies a lot with the exchange rate) but their selection is one of the best that I have encountered. Payment difficulties (for poor old Amurricans, like myself) can be somewhat ameliorated by sending a check to a United States bank account that they have set up. Otherwise, they have no Charge or PayPal option and wire transfers are an additional exorbitant expense. If you do persevere, there is horn treasure to be had. I can probably dig up the information that some member of the list (sorry that I can't give credit, due to foggy memory) gave to me about the bank account. I does work and saves considerable expense. Go for it, Peter Hirsch message: 4 date: Fri, 10 Mar 2006 09:41:59 -0800 from: WIlliam Botte [EMAIL PROTECTED] subject: [Hornlist] Mozart and horn with band My 1995/96 Ulrich Kobl, Katalog Horn, has several band and horn scores. This is an outdate catalog, priced in DM etc. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: Tovey Trio
Eric, Thanks for reminding me of that. The listing that I first saw in Grove decades ago has always tantalized and frustrated me. I believe that someone, possibly you, pointed out the fact that there is no way to prove its existence without a pilgrimage to Schott (and probably not even then). I wish I had this piece in mind when I wandered to the outskirts of Mainz a plundered their warehouse for a pile of horn related publications back in 1977 when the exchange rate a music prices in general were much more favorable. Thesis material, eh? Any takers? Peter Hirsch message: 11 date: Thu, 9 Mar 2006 09:02:00 -0800 (PST) from: Eric James [EMAIL PROTECTED] subject: Re: [Hornlist] re: Tovey Trio It isn't clear if Hindemith even finished this trio. There is a photograph of the first manuscript page in a volume of the Hindemith-Jahrbuch. I believe the material, if it even still exists, would be in the posession of Hindemith's publisher Schott. Eric James --- Peter Hirsch [EMAIL PROTECTED] wrote: Hindemith apparently wrote a work for this combination in his youth (opus 1) but I have found no evidence that this piece was ever available for performance. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Was Tovey trio, now Hindemith
Just realized that this thread ought to continue, if it does continue at all, as Hindemith Trio and not linger on attributed to good old Don Tovey. Just doing a little house cleaning, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss Horn etudes
LT (it would be nice to know who I'm addressing, but that is another issue, entirely), I think that you may have misread my posting(s) about Strauss' Etudes. It is not that they are unknown to me and others, they just don't seem to have gone beyond the pencil copies residing in the Richard Strauss Archives. It is possible that I am wrong on this, but I would imagine that there is no reason you couldn't be the one to bring them into print, assuming that it is worth your trouble. The citations of the first few measures that appear in the thematic catalog that Trenner has put together make two things clear to me. One is that they were written when he was approximately 13 years old and therefore way before he wrote anything that resembles Strauss as most horn players know him. The other is that both of them launch into the register above (concert) F (our high C) immediately. If this is your cup of tea, then I suggest contacting the RSA and inquiring about the possibility of studying the MS and copying it for your own use or publication. I have no idea what the archives' response would be but why not give it a try? I'd be curious to know what happens. Feel free to contact me offlist if any of this needs clarification or if you want more info. Regards, Peter Hirsch message: 10 date: Fri, 17 Feb 2006 01:10:02 EST from: [EMAIL PROTECTED] subject: Re: [Hornlist] Strauss Horn etudes No, I wasn't talking about Brahms or Franz Strauss, I was talking about Richard Strauss. He composed two early horn etuds, one in Eflat and one in E. Im really surprised no one has heard of these. Not even Hans? LT ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Richard Strauss horn etudes
This has exploration all been very interesting and I have to say that I am not that surprised that the heirs of Herr Strauss may be reluctant to have his extreme juvenilia released, though I do feel that it is an overly protective stance. I would like to apologize for speaking off the top of my head in my posting and adding 4 years to his age at the time of the composition. For no good reason, I got his dates (1864-1949) mixed with Mahler's (1860-1911) in my head. I happen to have a lot of stuff floating around my cranium, like composer's dates, but they are getting blurrier and scrambled as I muddle through my 6th decade. Next time I'll check my facts. Somehow, I do feel that there is a difference in how interested one would be in a piece written be an adolescent rather than by a child. Of course, there is always Mozart. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss Horn etudes
As I promised yesterday, I did check the Trenner thematic index for Strauss' works and the etudes do not appear to have aver been published. There is a pencil copy (or original - my grasp of German understands the bleistift part of the description but not what follows. I will try to take a second look to settle this) in the Richard Strauss Archives. From the look of the incipits, they are technically over-involved and mostly of curiosity value and not in line with what you would expect after looking at Mueller, Kopprasch, Gumpert, Franz, et al. I wonder if the original poster was actually thinking of Brahms' horn etudes. These are available (I have an old Klaas Weelinck KaWe Edition - Hans P. may have picked this title up and gotten it back in print) and, while not that great or even Brahmsian, are somewhat playable. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
re: [Hornlist] Richard Strauss Etudes
Grove lists: Zwei Etuden, no.1 for E(Embedded image moved to file: pic16541.gif) hn, no.2 for E hn, ?1873 and assigns the TrV number 15 to them. This number refer to the catalog compiled by Franz Trenner: Richard Strauss: Werkverzeichnis (Munich, 1993, 3/1999) If you find a way to consult this volume, I expect that there will be some information of use to you. I will try to take a look at this volume later today and see what comes up, but if you happen to be located near a decent university music library, I'm sure that you will be able to dig it up yourself. Good luck, Peter Hirsch message: 6 date: Wed, 15 Feb 2006 00:51:57 EST from: [EMAIL PROTECTED] subject: [Hornlist] Richard Strauss Etudes I am in search of some info and even the music to these two early pieces by Richard Strauss. Does anyone have the music to these or and info? Thanks LT___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: John Graas - name that horn? (Graham Jarvis)
Graham, I'd be very interested in any response that you get on the other list or offlist. I actually purchased all 6 of the Graas CDs on Lonehill a couple of weeks ago and was wondering exactly the same thing but was too lazy to post it to the list. Thanks, Peter Hirsch date: Wed, 8 Feb 2006 22:41:29 +0100 from: Graham Jarvis [EMAIL PROTECTED] subject: [Hornlist] John Graas - name that horn? Calling all listers! Having had only limited success on the Yahoo hornlist I'm going to try = my luck here. (Don't let me down...) I recently bought a LonehillJazz CD Jazz-lab 12 with John Graas on = horn.=20 On the front cover of the CD Graas is holding a single Bb horn with F = extension (successfully identified as a Sansone by Yahoo listers).=20 On the inside of the insert he's shown playing a full double that has = still not been (convincingly to me) identified. The wrap is not one i = recognised - but it's certainly close to a current Lidl model. (Anborg = has also been mentioned - though it's nothing like the Anborg = full-double that I still use). Two details that could be deciders are a = bulge on the bell-brace and apull ring on what I guess is the Bb tuning = slide.=20 I've posted photos on the Yahoo group = http://launch.groups.yahoo.com/group/horn/ You have to be (or become) a member to see them. If you're curious I = could send a copy of the picture by mail. I'd like to be able to offer a prize for the first definite = identification - but I can't think what the prize could be - maybe the = satisfaction of winning is enough? Regards, Graham ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Interesting horn reference
The following was excerpted from a review of a performance of Shostakovich's 7th Symphony by one the Juilliard School's orchestras (presumably their A-team, though this is not specified): This anonymous percussionist toiled away in the middle of the back row, with one timpanist on either side for punctuation. But at one point, when the strings had achieved close to maximum crescendo, a set of four previously hidden battery mates stood with the precision of an Air Force drill team. Like the horns standing at the end of Mahler's First Symphony, this was a thrilling effect. For once, a critic (Fred Kirshnit) gets it. It's all visual and it is exciting (I would use a different adjective - unnerving, most prominently - from my perspective as a player remembering numerous times that I have played the piece [Mahler, that is]) though there is no discernible difference from perspective of audibility. I have been thinking a lot lately about my relationship with music, performance, recordings and concerts and how they relate to each other and this little example is further food for thought. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re:Peter Damm CD in US
Michael asked: date: Mon, 9 Jan 2006 09:36:53 -0500 from: Michael Ozment [EMAIL PROTECTED] subject: [Hornlist] Peter Damm CD in US? Hi, Does anyone know where I can buy Peter Damm's CD Laudatio - Musik f=FCr,Horn und Orgel in the United States? Thanks! If you follow the following link: http://www.jpc.de/jpcng/classic/detail/-/lang/en/currency/USD/rsk/hitlist/rk/classic/hnum/7429833 You will find the Damm at the price of 15.49 Euro. Though this vendor is located overseas, I have ordered from them on numerous occasions without any particular problem. Domestically, you can check out TAP Music, Osmun (and Paxman and Ulrich Koebl over on the other side of the ditch, for that matter) to see if any of them happen to have this CD - all three are outstanding sources of out-of-the -way horn recordings. None are particularly cheap, but that really is not usually an option when you just have to have something. Good luck, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Casanova Players
(This message has been bouncing around the ether for several days now and I can't seem to figure out why. My attempts to get it to our list admin seem to have just resulted in my being subscribed a second time, but the message never appeared. So, here it is. Late, but I don't see that anyone else has volunteered the info yet) R. J. Kelly (Kelley?) and Alexandra (Alex) Cook are the players in the picture of what purports to be the recording session for the movie Casanova. Regarding Hans' comment, there was also a film Fellini's Casanova (I can't tell if this is the same movie he refers to, but it doesn't look like it). It came out in 1976 and the music was by Nino Rota (who else?). Donald Sutherland played the title character in that one. Hope this is of use to those left wondering. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Baumann repertoire question
Subject: Re: [Hornlist] Baumann repertoire question From: Peter Hirsch [EMAIL PROTECTED] Date: Thu, 06 Jan 2005 09:22:59 -0500 To: Jennifer-Catherine Ludlow [EMAIL PROTECTED], Jennifer, Thanks. I am well acquainted with the Borodin and, unfortunately, it is not the piece on the tape. I have been playing the horn for over 40 years and always been a repertoire maven in addition to working for one of the world's largest music research libraries (NYPL) and that is why it surprises me to come up against a substantial work for horn that is totally unfamiliar to me. It initially sounds like a Russian song transcription, but goes on through several dramatic sections that do not sound at all vocal in origin. It is also much longer than anything that would be played as an encore (the Borodin is only about a minute and half long) and, on my tape, comes after only 3 previous selections, which would be an unusually short program, even for a horn recital. Thanks again, though the mystery remains unsolved, Peter ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: Hoyer rotor bumpers
Wes, Do you (or anyone else) know of somewhere that sells Yamaha bumper material (without having to buy the horn that goes with it - not that I have anything against Yamahas, a model of horn that I have never tried)? Peter message: 18 date: Thu, 6 Jan 2005 09:17:51 EST from: [EMAIL PROTECTED] subject: Re: [Hornlist] Hoyer rotor bumpers In a message dated 1/5/2005 11:25:57 P.M. Central Standard Time, [EMAIL PROTECTED] writes: I've done an online search for O-rings and have found plenty of manufacturers of them, but I don't know if any of them would be suitable as raw material. Hi, The Yamaha bumpers are very good and fit the stop plates on a Hoyer. Wes ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Baumann repertoire question still not answered
Dave, Peter Hui is correct, I have no doubt, that the Borodin Serenade was played on the recital as an encore. I have not been able to listen to the tape I have all the way to the end, but I don't question that I would hear this piece if I had the time and means to finish dubbing the reel to reel tape I have. The only problem is that I am not referring to an encore but what I assume to be the fourth selection on the recital, following Strauss no. 1, Beethoven op. 16 and the Krol Laudatio. The tape in my possession seems to have been made by someone holding a mike in front of a speaker, since I hear extraneous sounds and conversations in the distance. It was also made either on a machine with severe pitch variations or on a tape that has stretched and contracted drastically over the years. Whoever made the tape also attempted to cut out all non-musical material, so no announcements are heard (in fact, the first few notes of the Beethoven are also lopped off). If you are able to listen to your copy and identify the entire program, that would probably end this quest satisfactorily for me. My apologies to the list for the extensive self quoting and copy/pasting below, but I want it to be clear, if possible, just what the history and context of this posting is. Regards, Peter Hirsch p.s. I'm still putting together my mailing of horn recordings that I initiated a few months ago; it's just taking me a lot of time that I can't seem to steal from other pursuits. - p. DAVE J. wrote: message: 19 date: Thu, 6 Jan 2005 06:54:51 -0800 (PST) from: David Jewell [EMAIL PROTECTED] subject: Re: [Hornlist] Baumann repertoire question Mr. Hui is correct - the piece is the serenade by borodin. I have this tape, and on it Herr baumann announces the selection, as does the announcer. He also played the rossini les rendezvouss des chasses as an encore. Paxmaha IN RESPONSE TO PETER HUI: Peter Hui [EMAIL PROTECTED] wrote: Wow, and I thought I was the only one who remembered this broadcast... Are you speaking of the encore that he played at the end? If I recall correctly, the piece was a movement from the Five Pieces from Little Suite, by Borodin. Oddly enough, I have the sheet music, along with the receipt from when I originally purchased the music, in front of me right now. Published by: Israel Brass Woodwind Publications P.O. Box 2811 Holon 58128 Israel If I recall correctly, he played the third piece (Serenade) as an encore. It looks like I got it from Robert King, but this was back in 1992, so I can't guarantee that it is still in print. Feel free to contact me if you need more info. Peter MY ORIGINAL NOTE: I have a tape, made from an off the air broadcast, of Hermann Baumann playing a recital at the Frick Collection in NYC sometime in the early to mid- 1980's. After renditions of the Strauss no. 1, the Beethoven Sonata and the Krol Ladatio, there follows a work that I cannot identify. I initially thought that it was a Russian song transcription, but many of the features of the piece make me think that it is a horn piece that I am not familiar with. Does anyone have information on the works played on this concert? Failing this, I would be willing to send a file made from this tape to anyone acquainted with Herr Baumann's recital repertoire in hopes of making an ID. Hopefully, Peter Hirsch AND MY RESPONSE TO SOMEONE ELSE WHO RESPONDED OFF-LIST Thanks. I am well acquainted with the Borodin and, unfortunately, it is not the piece on the tape. I have been playing the horn for over 40 years and always been a repertoire maven in addition to working for one of the world's largest music research libraries (NYPL) and that is why it surprises me to come up against a substantial work for horn that is totally unfamiliar to me. It initially sounds like a Russian song transcription, but goes on through several dramatic sections that do not sound at all vocal in origin. It is also much longer than anything that would be played as an encore (the Borodin is only about a minute and half long) and, on my tape, comes after only 3 previous selections, which would be an unusually short program, even for a horn recital. Thanks again, though the mystery remains unsolved, Peter ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
